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Full text of "Artistic houses : being a series of interior views of a number of the most beautiful and celebrated homes in the United States : with a description of the art treasures contained therein"

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The Cooper Union 

Museum Library 



Artistic Houses 


Ctlekatetr '§amtB in % Wimttii ^Mtn 


A Description of the Art Treasures contained therein 







>■ /- 


MAR 3 01050 






MR. R. T. WILSON'S HOUSE - - - - - - 107 




MR. ASA P. POTTER'S HOUSE - - - - - - m 


MR. H. O. ARMOUR'S HOUSE - - - - - - 115 




HALL (Second View). 



DINING-ROOM (Second View). 







MR. R. H. WHITE'S HOUSE ------ 125 






Artistic Houses. 

MRS. BOWLER'S HOUSE ------- 129 

HALL. ,• .: 

MR. GODDARD'S HOUSE - - - - - ^ - 133 


DR. HAVEN'S HOUSE ---__>_ 135 


MR. JOSEPH H. WHITE'S HOUSE - - - - - 139 


MR. W. S. HOYT'S HOUSE ------ 143 


MR. JOSEPH S. DECKER'S HOUSE - - - - - 145 


MR. JOHN WOLFE'S HOUSE - - - - - - 149 




DR. WILLIAM T. LUSK'S HOUSE - - - - - 153 


MR. GILBERT R. PAYSON'S HOUSE - - - - - 155 


MR. W. S. KIMBALL'S HOUSE ------ 159 


MR. HENRY VILLARD'S HOUSE - - - - - 161 


• 1 . MUSIC-ROOM. 

HALL (looking West). 
■ . -- •.. HALL (Second View). 



- i , ■ 


Contents and List of Plates. 

MR. HENRY S. HOVEY'S HOUSE - - - - - 167 




MR. JOHN G. CHAPMAN'S HOUSE - - - - - 171 



OGDEN --------- 173 


MR. KNIGHT D. CHENEY'S HOUSE - - - - - 181 


MR. SWITS CONDE'S HOUSE - - - - - - 183 


MR. JOHN L. GARDNER'S (JR.) HOUSE - - - - 185 




MR. C. OLIVER ISELIN'S HOUSE - - - - - 189 


MR. H. M. FLAGLER'S HOUSE ------ 191 









YORK -------. Plate 


a^w ^- w-t " ^ 


The most artistic room in Mr. R. T. Wilson's house, No. 511 
Fifth Avenue, is the library, finished, furnished, and decorated by Messrs. 
Duncan, Johnston, and Fenton, of New York City. The wood-work 
throughout is of San Domingo mahogany, every piece of which came ^re ma- 
from .the same log, and possesses remarkably fine qualities of grain and -n^ood-work. 
color. Mahogany, of course, is mahogany, wherever found; but the 
mahogany in Mr. Wilson's library gains the attention of those interested 
in the varieties of native and foreign woods, and could not be dupli- 
cated in the market every day. This excellent specimen of an excellent 
wood has been used in the room without reserve — even the Venetian 
shutters, whose blinds are provided with a patent adjustment which 
holds their slats in any desired position, were made entirely of it. It 
enters into the old English mantel, with ornamentation of Mexican 
onyx; into the five-feet-high dado; into the series of book-cases; into 
the doors, casements, and trimmings. The chief feature of Mr. Wilson's "^he libra- 
library is the book-cases, which occupy the entire length of the wall 
opposite the mantel, and are built in two stages and three compart- 
ments, the central part carried up a stage higher than its adjoining 
parts, and its lower doors showing some admirable carving. Shelves, 
intended for holding large books while they are being read, can be 
drawn out on either side; and each of the glass doors of the upper 
section of the central part is hinged with piano-hinges, which conceal 
themselves. The joinery of these book-cases could not easily be im- 
proved, and the lapse of months does not reveal in it any disposition 
to show traces of warping. 


io8 Artistic Houses. 

Library Perfect harmony runs through the walls, of dark green, with a 

decoration. ^ ^ ^ . 

texture in paint, and subdued gold patterns; the curtains, of brown 
and red plush, with gold bands and fringe; the furniture, covered with 
red plush; the ceiling, paneled in mahogany, the panels inclosing a gold 
ground of canvas, painted with floral designs; the frieze, treated in 
conventional ornament, on a gold ground of canvas ; and the general 
tone of red — making the room a source of real pleasure to the artistic 

Mr. Wilson's dining-room is finished in oak, with an oak dado, 
and its wall-spaces are hung with a gray-green modern French tapestry. 
The anteroom, between the parlor and library, has wood-work of a 
lighter mahogany than the library, and gold fresco decorations on the 
walls and ceiling. The drawing-room is Louis guinze, in white-and- 

goid. n© 


Mr. James W. Alexander's house, No. 50 West Fifty-fourth Street, 
engages the attention of every passer-by who cares for architectural 
beauty. The facade, composed of Carlyle stone in the basement and '^hefa- 
first story, of red brick in the second and third stories, and of a modi- 
fied Mansard-roof, with two dormer-windows, is simple, old-fashioned, 
and homogeneous, and possesses in large measure what the painters call 
breadth of effect, besides being broad, literally speaking. All the orna- 
mentation is of the mildest and most unobtrusive description, and the 
spirit of this modesty extends even to the design of the oriel-window 
above the principal entrance. 

Passing the inner vestibule of oak and entering the hall, the note of "fhe hall. 
domesticity strikes the ear at once. You are in a room rather than in 
a hallj a fire is burning on the large hearth at your right; an oaken 
screen, from which projects a cushioned seat in balcony-fashion, sepa- 
rates you from the staircase; and ponibres of red-and-gold-colored plush 
hide the openings into the library at the left, and the rear hall in 
front. The mantel, treated with great simplicity of outline, but prettily 
carved, rises above a fire-opening lined with- glazed red brick. A 
wainscoting of oak, five feet high, extends around the walls, which 
above consist of wood and bronze plates combined, in order to prevent 
what otherwise might have been too much heaviness of effect — this sac- 
rifice of seriousness making space for more richness and more lightness. 
The ceiling is beamed and paneled in American white-oak, slightly 
darkened. Easy-chairs stand in front of the fire, and the sense of home 
prevails as the best welcome that domestic architecture can create. 


'^o Artistic Houses. 

In the library the general tone is produced by the presence, in 
abundance, of stained cherry. Above a wainscoting of this material the 
wall-spaces, separated by wide ribs of the same wood, are filled with 
blue flock-paper, and, higher still, above the line from which the 
ceiling springs, with similar paper, touched oiF with several delicate 
shades of bronze. The beamed and paneled ceiling is of stained cherry 
also, an effect resembling that of a heightened tint of mahogany. In 
Stained addition to the stained-glass transoms of the two front windows, one 

glass. ° ^ 

notices the soft, rich tones of the stained glass of the small alcove near 
the window that is nearest to the front door — a pleasing little retreat 
where choice bric-h-brac and knickknacks reign. The four beams 
across the ceiling make four intersections about six feet from the four 
corners of the room, and from each point of intersection hangs a 
copper lantern, of chaste and suitable design, which gives a motif for 
that arrangement of the wood-work. Other special features of a sub- 
ordinate kind appear in the decoration of this house, and speak of the 
intelligence of the general plan of which they are luminous parts. 
Oak wood- Opening directly from the library is the dining-room, whose wood- 
dming' work of oak appears in paneled wainscoting, and in paneled but not 
beamed ceiling. The wall-spaces are covered with a heavy, embossed 
leather-paper, up to the level of the mantel-shelf, and with a painted 
flock-paper above it. The impression made by the whole has the 
elements of the livable and the elegant ; the taste for luxury is satisfied 
if not sated, and the taste for domesticity is more than satisfied. The 
decoration of this house is based upon the theory that, if you carry 
ornamentation beyond a certain point, you are in danger of losing the 
value of what you have already obtained ; that if the effect is not 
destined to be undone, much must be left not done; and everywhere 
within the building you notice an affectionate and sedulous respect for 
the theory. 

The floors of this house are laid in hard wood, and covered with 
Eastern and Western rugs of various patterns. The architect is Mr. 
Robert H. Robertson, who also designed all the decorations. 



On a rocky bluff, overlooking the Atlantic Ocean, is situated Mr. 
Asa p. Potter's fine house at Nantasket, Massachusetts. Behind it is ^ 

a vast stretch of cedar-forests, while in the distant west appear the 
Boston State-House and the Blue Hills. Out of the rock on which 
the building stands the cellar was blasted, and at the northwest corner 
is a formidable bastion, into which the front piazza leads directly. 

The size and height pf the hall, together with the gallery that goes 

quite around it, at once impress the visitor to Mr. Potter's mansion. 

All the wood-work is of old oak, with a wainscot five feet high, and 

over the mantel-shelf is a happily-arranged group of antique armor. 

The ceiling is of bronze color, and the walls are of yellow olive. A 

novel effect is produced by the oaken screen of the stairway, which Nvcel 


acts also as a railing to the second flight of stairs, and in which the 
architect has inserted a very pretty oval window, hung with a silk 
curtain of neutral reds and yellows. One of the portibres is of a 
terra-cotta silk-and-linen fabric, trimmed in bluish gray; the other of a 
bluish-gray fabric, trimmed in terra-cotta. The stained glass of the 
doors and windows is extremely beautiful when the sun shines through 
them from the southwest. It is easy to see, therefore, that this hall is 
a very noble feature of the house. 

Mr. Potter's private sitting-room, at the right of the principal en- 
trance, is fitted up in California redwood, the walls tinted a light olive, 
the frieze an olive-and-gold. Two cabinet-doors in the pretty mantel 
conceal the time-tables of the steam-cars and steamboat to Boston. On 
the right and left are cupboards, and above them book-cases. In the 


112 Artistic Houses. 

dining-room, whose wood-work is of cherry, the plaster of the olive walls 
has been combed with a coarse comb, above a wainscot five feet high. 

German Just outside of this apartment is a German tea-room, with a swinging 
lantern, a direct entrance to the china-closet, and an uninterrupted view 
of Nantasket Beach and the ocean. Its fine northern exposure and its 
commanding view make this a most inviting retreat in summer, espe- 
cially as it is really a part of the extensive piazza in front of the house. 
Let us look a moment at some other conveniences of a sort to 
delight the soul of the housekeeper. The spacious refrigerator is filled 
with several tons of ice from the outside of the building, and is a 
room by itself, very accessible to both kitchen and dining-room. The 
kitchen has an extraordinary number of cubic feet of closet-room, and 
indeed throughout the house one notices the presence of this admirable 
trait. The back stairs conduct downward to a commodious laundry 
and wine-room, and upward to the servants' quarters, which are entirely 
shut off from the rest of the building. Beneath the principal stairway, 
and very accessible to the front door, is a large and fully-equipped 
dressing-room for guests, the wood-work being entirely of cherry. 
Electric bells are found everywhere that one would expect or care to 
find them, and running water courses through the house from the cele- 
brated Accord Pond, whose contents have been discovered by actual 
analysis to be the third for purity in the country. 

Hosfsbed- If ^e ascend to the second floor we find the host's bedroom and 

room and 


dressing- dressing-room at the northwest corner — its walls in turquoise blue, its 
furniture of bird's-eye maple, its bath-room in cherry — and all the 
family rooms so arranged as easily to be thrown together en suite. 
And, on going to the third floor, especially to the balcony on the 
north, we are again struck by the extent and beauty of the ocean 
view. The balcony- windows on this side of the house are French 
doors set in frames, and, in order to open them, it is necessary first to 
lift door and frame several inches from their resting-place. In this 
way, when they are shut again, all draughts are entirely excluded, the 
doors looking to all intents and purposes precisely like windows. 

- The 

Mr. Asa P. Potter's House. 113 

The walls of the drawing-room — to descend to- the first floor — pre- "fhe draw- 


sent the novel effect of a dark blue shading up to a pale blue, the 
frieze and ceiling being of lemon-and-gold. In the library the walls 
are a pale terra-cotta^ so combed in the plaster as often to catch the 
light in varied grays. The large, old-fashioned standing clock, on the 
first landing of the stairs, tells a story of its own. Finally, it is to be 
noted that the arrangement of the rocky and in some places precipitous 
grounds shows excellent taste in landscape-gardening. A rustic lodge, 
with a thatched roof, is in process of construction at the entrance to 
Mr. Potter's handsome place. 



Mr. H. O. Armour's house, at the corner of Sixty-seventh Street 

and Fifth Avenue, fronting on the Central Park, is a massive and 

handsome edifice of brick and brown sandstone, four stories high, with 

basement and sub-basement. Its round, muUioned bay-windows run up '^he fa- 
to the third story : beneath them, on the Sixty-seventh Street side, are 

carved panels, in the style of the Italian Renaissance; above them, 
pretty balustrades of wrought-iron work, and, higher still, Queen Anne 
gables. The projecting porch on Fifth Avenue shows caryatides sup- 
porting a richly-carved pediment; and the steps have three broad land- 
ings, with two turns, the balustrade being a massive panel of bronze. 
The basement walls and the circular bay-windows are both of stone. 
Simplicity of effect, especially in the picturesque sky-lines, seems to 
have been the leading aim of the architects (Messrs. Lamb and Rich), 
and they have accomplished it without falling into barrenness. Before 
entering the building, we may notice the delicacy of the wrought-iron 
work of the area-railing. . 

Undoubtedly the chief feature of Mr. Armour's hall is the mezza- Mezzanine 


nine story, occupying its full width. To this mezzanine story the 
staircase ascends easily, and the guest finds himself on a mezzanine 
balcony, with a delicate open-work railing (seen in our illustration), 
through which he looks down into the hall below, and toward the 
front door. The first turn of the staircase leads to the second story. 
Particular notice will be taken of the delicately-carved fire-place, under 
the mezzanine balcony, and of the large stained-glass window above the 
fire-place, which lights the toilet-rooms. All the wood- work is of 


"6 Artistic Houses. 



white mahogany, which appears alike in the very wide — nearly square 
— door, with small panels below, and stained-glass panels above; in the 
band or frieze that continues the railing of the mezzanine balcony, 
running midway between floor and ceiling; in the wainscoting, and in 
the heavily-beamed ceiling. Lincrusta-walton has been used to cover 
. the wall-spaces. 
Dining- Mr. Armour's dining-room is finished in Santo Domingo mahogany, 

of which material consist also the light, open work of the ceiling and 
the paneled frieze. At the end of the bay-window a large mantel 
occupies one side of the room, supported by carved pilasters, and orna- 
mented with a carved cusp. The wainscoting, about five feet high, is 
composed of paneling with a carved-panel necking, and the transoms 
of the windows are filled with stained glass. 

In the library we note the large and richly-carved mahogany mantel, 
and in the parlor a decorative scheme in white-and-gold. Very con- 

Japanese spicuous are the frescoes along the staircase-wall, from the third to the 


fourth floor, with their representations of arbors, birds, and so on, done 
in a Japanese spirit, and the massive dome of colored glass. The 
house abounds in the modern improvements. 


One of the largest and costliest of the many fine residences which 
line both sides of Commonwealth Avenue, in Boston, is that of the 
Hon. Oliver Ames, which, although finished but a few weeks ago, has 
already taken upon itself a thoroughly home-like air. Built of massive 
brown-stone, with elaborately-carved frieze ornamentation and enrich- 
ments, it at once arrests the eye by its immense proportions, its richness 
of well-studied detail, and its commanding situation. No site could "the situa- 
have been better chosen for displaying the building at its best. On 
one side the new park affords an uninterrupted view, while the broad 
avenue on which the building fronts gives ample opportunity for the 
beholder to admire the magnificent facade. This favorable situation has 
been made the most of by the architect, Mr. Carl Pehmer, of Boston, 
the evidence of whose thoughtful care and study follows one through 
every turn in the interior. We enter the main hall through a vestibule 
with richly-colored marbles in pavement and wainscoting, and with 
vaulted ceiling softly tinted. The sides are lined with statuary, num- Statuary. 
bering among them more than* one chef-d'oeuvre^ while, under a small 
dome • of colored glass, the effect of a large group of figures is admi- 
rably heightened by the soft light shed around it from above. The 
main hall, rising to an immense dome of richly-hued glass, has a 
gracefully-winding stairway, with a wealth of delicately-carved newels 
and balustrade; and the generous fire-place, very artistic in design, 
possesses all the suggestiveness of New England hospitality. 

On the first landing of the stairs hangs Jacquet's picture, " The 
First at the Summit " (celebrated for its connection with the Dumas- 


ii8 Artistic Houses. 

Jacquet " affair "). The wall along the ascent is illuminated by rich 
glass windows that throw a flood of brilliant light into the room, 
heightening the effect of its soft gray-blue coloring, which contrasts 
beautifully with the natural-colored cherry with which the hall is 
Carved trimmed. An elaborately-carved screen of open-work partly divides the 
enormous lower hall, thereby bringing it into more home-like propor- 
tions. Opening from the hall is a series of apartments used as library, 
music-room, reception-room, and dining-hall, and, as one passes from 
one of these to the other, the evidences of intelligent care in the fur- 
nishing, and in harmonizing the various colors, become very manifest. 
The library is finished heavily, in mahogany of a deep-red tone; 


Old Fene- the walls are hung with a copy of old Venetian silk, in low tones of 

tian silk. ^ . . 

green and brown; the ceiling, although quiet in coloring, is one of the 
finest pieces of decorative painting in the house ; and the hangings, as 
well as the furniture-covering, of the same soft, greenish hue that we 
find in the wall-covering, combine to form a restful ensemble. On the 
walls, and indeed in the rooms generally, appear choice paintings, by 
Munkacsy, Lefebvre, Delort, Landelle, and others. Mr. C. H. George, 
of New York, in whose hands the library was placed, rightly regards 
'The music- it as one of his best efforts. The music-room, opening directly from 


the library, is, from the rich and light carving of the wood-work to 
the last detail of its furnishing, an ideal interior. Its deep frieze of 
painted canvas must be regarded as a most successful effort of Mr, 
Juglauri to modernize the spirit of Italian Renaissance painting. The 
windows are hung with a rich, golden-hued plush, the tone of which 
pervades the entire room ; the carved and fretted wood- work is heavily 
gilded, and the ceiling gives the finishing touches to the whole. The 
reception-room, also en suite with the library and music-room, is quite 
Dining- their equal in artistic excellence. The large dining-hall, which crosses 


the entire house, is heavily finished in carved oak, its massive wooden 
ceiling, supported by caryatides nearly life-size, than which few finer 
specimens of modern wood-carving exist; the subjects, chosen from the 
Greek mythology, are interpreted with spirit and keen appreciation. 


Lieutenant-Governor Ames's House. "9 

The wall is covered with a dull-blue silk tapestry, an admirable foil 
for the wood-work, throwing its salient features into necessary promi- 
nence; while the hangings enhance the effect, being of a warm, low- 
toned madder-red, with embroidere'd frieze-bands of great beauty. It 
is enough to say that the admirable furnishing of this magnificent 
apartment fully sustains the dignity and character of the ensemble. At 
the east end, built into the wall as a permanent fixture, is the large 
oaken sideboard, heavily carved and finely adapted to display the luxu- 
rious table-service which it contains. Opposite the entrance-doors, the 
huge, carved chimney-piece, with its bright brass fittings, adds its note ^^.^J^_ 
of cheer ; while the table and chairs constitute good examples of the piece. 
characteristics of the school of which the apartment is a study — the 
early German Renaissance. Seven windows provide abundance of light, 
and the branches of candles along the walls suggest a brightness when 
the curtains are drawn. 

A visit to the various bedrooms shows that the attention bestowed 
■ on the lower story has not stopped there. Each room is a color-study 
in itself, and each seems more artistic than the preceding one. Alto- 
gether, the house is such a ^one as befits a Lieutenant-Governor of 
Massachusetts, and is an ornament to the city in which he lives. 


Of late there have appeared in Commonwealth Avenue, Boston, so 
many important private edifices that to say of any one of them, " It 
is notable," means a great deal. Such a saying, however, is true of 
General Whittier's new house, which, although not so large as Lieu- 
tenant-Governor Ames's, nor so elaborate as Mr. Frederick L. Ames's — 
each of which is distant only a stone's- throw — commands attention. 
If, moreover, it does not contain the wealth of carved wood which 
Lieutenant-Governor Ames's house contains, nor the wealth of marble- 
work and stained-glass effects which Mr. Frederick L. Ames's house 
contains, it is manifestly unnecessary to judge it by those two splendid 
and costly palaces, of which, probably. Commonwealth Avenue is suffi- 
ciently proud. The architectural effects in General Whittier's house Architectu- 
ral effects. 
are very modest in comparison with those produced elsewhere by Mr. 

H. H. Richardson, the justly-celebrated architect — with even so con- 
centrated an effect, for instance, as the mantel of the Rev. Phillips 
Brooks's library in the rectory of Trinity Church, or so balanced and 
yet sumptuous an effect as that of the interior of Mr. Knight Cheney's 
house in Manchester, Connecticut; but there are many features sug- 
gestive not of Mr. Richardson, indeed, to whom American architecture 
is greatly indebted, but of a pupil of Mr. Richardson. That the 
general's house shows no scrupulosity as respects expense is another 
feature of the pupil rather than of the master; and that, in many 
places, the great cost might have produced a less commonplace showing 
is obvious, even to those who admire what is admirable in it. 

Undoubtedly the most interesting feature of the general's house is 


12 2 Artistic Houses. 


the main hall, which has been finished almost entirely in darkened oak, 
the principal exception in the use of that material being the frieze, 
which seems to be of bamboo, although the coloring is the same as 
that of the wood-work in general. If, however, this frieze be taken 
simply as a piece of bamboo imitation, the coloring is fully explained, 
even if the propriety of the use of such material in an oaken hall be 
questioned. No spectator, however, will question the extreme delicacy 
of the special decorations of the hall- work, which appears not only 
in the abundant low carving of the arches, the architraves, and the 
large mantel-piece, but in the treatment of the general scheme itself; 
and, if any criticism were made in connection with it, the most obvi- 
ous would be that the delicacy was so extreme as to compel a wish 
for the presence of a certain amount of contrasting ruggedness, or 
boldness, or candor, or whatever else we may call it. The stairs are 
wide and of easy ascent, and so placed as not to force the conviction 
that they are robbing the hall of needed space. For the sense of 
spaciousness is as vivid as the sense of modesty; the hall is practically 
a room rather than an anteroom, although it would be unjust to claim 
for it proportions absolutely princely. Boston, so far as the Back Bay 

spacious region is concerned, is a city of spacious halls. General Whittier's hall 
is spacious, but it is not particularly so, and certainly not unduly so, 
at least to a Bostonian. The whole neighborhood, with its wide avenue 
and its wide facades, fosters the expectation and even the demand for 
roominess. Where the conditions of house-building are so ample, so 
free from narrowness, so unlike, in a word, those imposed upon New 
York City by the geographical configuration of the island, one looks 
for large halls — one even asks for them. Both the desire and the 
seeking are met in the interior aspect of General Whittier's fine man- 
sion; it would, perhaps, be wishing too much to wish that they had 
been perfectly satisfied. 

Recess in There is largeness sufficient, however, in the recess in the library, 

library. ^ ^ ^ ^ . . , . 

in which the fire-opening is placed; and here, again, no considerations 
of mere cost were consulted by the owner in his dealings with his 

architect ; 

General C. A. Whittier's House. 123 

architect; while, nevertheless, the latter seems to have been positively 

instructed to indulge himself in no empty shov7. The ow^ner's good 

taste has been not only active and pervasive, but authoritative; and one 

may imagine him to have constantly enjoined upon the man v^ho had 

contracted w^ith him to be the spender of his money : " Spend w^hat 

you like, but keep your effects dovv^n. If you must have a great deal 

of cash in order to produce v^hat I want, remember, please, that what 

I don't want is a meaningless and ostentatious show." The linings of 

this recess are of colored marble, of a tone dark enough to harmonize 

with the walnut finishing of the rest of the room. A few pictures 

hang on the walls, the most interesting being in black-and-white, for 

the furnishing, like the finishing, of the house is of a quiet and simple 

order; and, as in this department the owner has been able to consult 

his taste more nearly immediately than in the department of general 

construction, it being possible when furnishing your home to come 

more closely in contact with what you do than when building it, the 

results more clearly and surely reflect his taste. In the dining-room, iVood-worh 

in dining- 

which opens directly from the library, the quality of the mahogany room. 
wood-work is so delicate that to make a successful photographic repro- 
duction was peculiarly difficult. In some rooms, full of details, length 
of time seems to be the main prerequisite to such a reproduction ; but 
here it was exactitude rather than length, and twenty minutes with the 
camera produced effects more satisfactory than twenty hours elsewhere. 
The reader will notice particularly the pleasant features of the cupboards 
on either side of the mantel, and the general aim for solidity, richness, 
and quietude. The color also partakes of richness and quietude, in a 
key very low, but without a shade of gloom. Many city dining-rooms 
are so dark, both in color and in poverty of daylight, that the impres- 
sion is depressive. General Whittier has kept his dining-room low, 
cool, modest, but gently stimulating as well, by reason of complete 
richness of textures and perfect harmony of tone. 

When we ascend to the second floor the interest of the house 
increases in a sort of geometrical ratio. Here the artistic results are 


124 Artistic Houses. 

MrsMhit- produced by the simplest of means; and particularly does Mrs. Whittier's 
doir. boudoir show at how little comparative cost a beautiful effect may be 

gained. All the wood-work is of light wood, not oiled or stained, but 
painted a yellowish brown; and the walls are covered with paper of a 
lighter tint. The simplest possible scheme of carving appears in the 
mantel. In fact, we have reproduced this room to show how effective 
so simple a scheme can be, not only in the mantel, but throughout 
the entire apartment. The furniture, it will be seen, corresponds with 
its surroundings. The consonance is complete. That closet-room — and 
plenty of it — is desirable in such a place, no experienced husband will 
be likely to deny; in this boudoir is an abundance of closet-room, and 
the plans for it are so arranged that their fulfillment brings added 
beauty and freshness. All the wood- work over and near the principal 
doors, which open into the second-story hall, is made to serve the 
purposes of convenient cupboards; and the very hinges on which the 
doors of those cupboards swing are a charm to the eye. The bedstead 
occupies a large alcove which can be entirely separated from the 
boudoir itself by portibres of appropriate tone; and the toilet-table, the 
lounge, the chairs — in fact, every piece of furniture — bear each some 
sign of the owner's cultivated taste. To study such a room is of itself 
an education in the art of furnishing one. 

General Whittier's house contains no great exhibition of oil-paintings; 
ADeNeu- but there hangs in the dining-room a large De Neuville, admirably 


handled, a characteristic transcript of a leaf from the late Franco- 
German War. The impress of a personal sentiment is on all of this 
painter's work, which saves it from degenerating into the mere jour- 
nalist's note-book class. His, too, is a genuine manner, free from the 
monotonous smoothness of the school of David and the classics, on the 
one hand, and, on the other, from the vagaries of the impressionists. 


The representation of Mr. R. H. White's parlor, at his well-known 
establishment in Boston, shows some effects that have not yet appeared 
in this collection of interior views of American houses. The photog- 
rapher has been unusually successful, and the gelatine-plate which is 
founded on his work, and is used in this book, has great perspicacity 
and extraordinary harmony of tone. Both the size of the room and 
the largeness of its general treatment, not less than of its more impor- 
tant details, make it impressive at the first glance; and, when the 
spectator carries his attention to the simplicity of the materials used by 
the architects (Messrs. Peabody and Stearns, of Boston) in embodying 
their idea, his admiration increases. The walls are of plaster, painted l^heivalls. 
many times in a low, deep tint, suggestive of old gold ; the arch 
inclosing the clock is of glass mosaic; and the immense fire-place has 
a facing of Victoria marble, a lining and hearth of glazed tile, and a 
back of iron. A balcony at the right of the fire-place is intended for 
the use of musicians. 

The general effect of the decorations of this room is one of richness 
in reserve. To pass directly from the crowded streets of Boston into 
such a place is a strange experience daily to hundreds of Mr. White's 
friends. Architecturally considered, the lines are beautiful ; and, as a 
piece of color-decoration, this parlor is superb. It also stands as an The par- 


instance of what may be done when the architect and the decorator 
are either the same person or so united that their work is one. Messrs. 
Peabody and Stearns, in most of their enterprises in Boston, have been 
fortunate in having had the control of the finishing as well as of the 


^26 Artistic Houses. 

Unity of construction of the houses erected by them. In a case like that of the 

plan. ^ '' 

Union League Club in New York, for example, although they furnished 
the plans for the edifice, their authority over its interior decoration was 
only partial. Other artists were represented also; and the dining-room 
has a scheme quite apart from that of the drawing-room, and the 
drawing-room a scheme quite apart from that of the hall. Some of 
. Messrs. Peabody and Stearns's new houses in Commonwealth Avenue, 
where their control extended to the interior effects as well as to the 
exterior, present very pleasing examples of artistic unity and modesty. 


General N. L. Anderson's house, No. 1530 K Street, Washington, 
D. C, is easily the most interesting private residence in the capital of 
the nation — a fact due to the intelligence of the general in selecting 
Mr. H. H. Richardson as his architect, and also to the ripened taste 
of the general himself. The first entrance into the building fixes one's 
attention upon the novelty of its artistic effects. There is no house 
like this one in the city, nor, for the matter of that, anywhere else, 
so far as we know. The material of the wood-work of the hall is ^^ood-work 

... of hall and 

quartered oak, copiously ornamented with carving. Oak beams cross staircase. 
one another in the ceiling. The screen-work of the staircase is 
Moschrabeyah lattice, also of oak; and each banister is carved after a 
pattern of its own — a device in the interest of variety rarely met with, 
but which really exerts much more influence than at first one might 
be inclined to suppose, for it suggests to the spectator an absence of 
machine scroll-work throughout the ornamentation of the interior, it 
speaks a word in favor of artistic hand-made results, and it attests an 
appreciation of them on the part of the host. The mantel is of yellow 
Italian marble; and the beautiful stained-glass windows are successful 
representations of the spirit of sunset, in tones that run from red to 
blue. The manufacturer of these fine pieces of color is Mr. Treadwell, 
of Boston, and connoisseurs who have had the pleasure of seeing them 
will recall the softness and richness of their lusters. 

The parlor of General Anderson's house is painted a creamy white- T^hedraw- 
and-gold; the ceiling is gray, with tracery of gold; and the walls are 
hung with reddish tapestry, on which appears a figuring in gray. The 


^28 Artistic Houses. 

harmony is as complete as the aim is simple. Nothing has been done 
for ostentation; yet the results obtained invite analysis, and are even 
strong enough to upset certain conventional theories of specialists. Nor 
does the beauty of this drawing-room pale before its frieze of appliqui 
gold, in raised disks; or its portieres of old brocade, in delicate colors, 
/ 1 which reappear in the coverings of the furniture ; or its blue-bordered 

gray Agra rug; or, least of all, the sheen of its curtains of yellow 
Japanese silk. 
''"^he One of the pleasantest rooms in General Anderson's house is "The 

Denr ^^ . ^ 

Den," which opens from the hall, near the foot of the staircase. The 
tone is a dark olive-green, and both walls and ceiling are covered with 
gold-and-red Japanese paper. There is some excellent cabinet-work 
here, and the whole appearance of the place is charming. 

No effort has been spared to realize an excellent ideal of a dining- 
room; and what Mr. John Lafarge's stained-glass windows have failed 
to accomplish is supplemented by the mantel of Sienna marble and the 
Portrait by carvings of San Domingo mahogany. A beautiful portrait, by Gilbert 
Stuart. Stuart, is inserted in the wood-work above the mantel-shelf, which 
represents that distinguished painter in the way in which his admirers 
like to see him — that is to say, in the way in which all of them will 
agree that he infinitely surpasses Benjamin West. 

General Anderson's house, we repeat, is a happy illustration of the 
unique effects that may follow a judicious choice of an architect. Mr. 
H. H. Richardson's genius is chiefly confined nowadays to the erec- 
tion of public buildings of importance, and in such work his faculties 
undoubtedly have freer and therefore pleasanter scope than in the 
construction of private houses. It is not likely that he will again try 
his skill in the latter direction, because his health is delicate, and his 
enterprises already in hand are many. But General Anderson's house 
is so choice in its plan, so elegant in its appointments, and so novel 
in the beauty of its principal artistic results, that Mr. Richardson him- 
self might easily be satisfied with it. 


Mrs. G. B. Bowler's house, at Bar Harbor, Maine, was built by 
Messrs. Rotch and Tilden, of Boston. It is one of those structures 
that belong especially to the new era of American architecture, upon 
which we entered about four years ago, and which has not yet given 
full manifestation either of its presence or its promise. In a series of 
articles now appearing in " The Century " magazine, an effort is 
making to do in another form, and on a smaller scale, what has been 
doing in " Artistic Houses," namely, to show choice examples of the 
spirit of this new and notable epoch; and in that series Mrs. Bowler's 
house appears with deserved prominence. To us the edifice is interest- ^h^ ^^t^^- 
ing, not merely in itself, but in its relation to scores of successors that 
will soon follow it amid the enchanting scenes of Bar Harbor, for 
enchanting those scenes certainly are; the blue of the waters is more 
profoundly blue than the Mediterranean \ the curved lines of the many 
harbors repeat, on a magnificent scale, Hogarth's line of beauty ; the 
mountain scenery is majestic ; the islands rival in beauty and in site the 
Thousand Islands of the St. Lawrence; the atmosphere is bracing as is 
no tonic of the materia medica; and the numerous coves and bays 
offer to the yachtsman and the canoeist the pleasantest and safest 
retreats. Boston architects expect to reap a rich harvest at Bar Harbor; 
and the fine gray-stone house of Mrs. Bowler, which Messrs. Rotch and 
Tilden have set among the pines of the sands, is so original and inter- 
esting in outlines that the architecture of the new era will not be loath 
to own it. Of that better, freer, and larger type of art it is, as we 
have said, a forerunner. 


130 Artistic Houses. 

'^hehalL The hall, which has been reproduced for the ninth section of 

" Artistic Houses/' will strike most readers very favorably. It is to be 
noticed, in the first place, that the architects have constructed it with 
careful reference to the lighting. The sunshine has free access; and 
with the sunshine come glimpses of foliage that make a pretty fret-work 
athwart the window-panes. There is not a hall in our whole collection 
which is so noteworthy in this respect; and the first entrance into Mrs. 
Bowler's house produces a stimulating impression by reason of the abun- 
dance of its luminous resources. The double ascent of the stairs is 
toward the exterior landscape, and when one reaches the main landing 

^hehai- he finds himself on a balcony which commands from the rear an 


extensive view of out-doors, and from the front an outlook into the 
first and second stories. The hangings on the wall are, in the main, 
of Eastern stuffs, delicate in tones and textures; there is an abundance 
of them, and their arrangement is tasteful. The carvings of the wood 
are carried far enough to secure attention, but not far enough to 
become self-assertive. 

Inside the house the effort has been to combine the solid attractions 
of a city home with the less solid attractions of the typical home by 
the sea-side, although, as at Newport, the tendency toward long sojourns 
grows, and with it the disposition to make the sea-side abode as com- 
fortable as urban tastes demand. 
Wood' The wood-work of the hall is strongly-grained ash, unfilled, to give 


full force to the grain, and stained black. The walls above the dado 
are covered with paper, having alternating courses of cream and soft 
yellow, with blue lions rampant on the cream courses, the whole imi- 
tating the paint on the stone-wall surfaces of mediaeval castles. 

The dining-room, opening at the right of the hall, and extending 
the depth of the house, has a very high dado, stained a dark brown. 
The drawing-room, at the left of the hall, is in white-and-gold ; and 
the library beyond is in deep brownish-reds. Through these rooms is 
a vista of eighty feet. 

The first story of the house outside is of stone, with trimmings of 


Mrs. Bowler's House. 131 

red granite, and walls of gray granite, whose faces were split designedly 
from surface-ledges. The second story is half-timbered, got out by 
hand to give the axe-marks, and painted a deep red. The roof is "theroof, 
sprinkled with red and dark pebbles, and stained very dark. The gen- 
eral style of the building may be described as mediaeval. Very interest- 
ing is the situation, under the shoulder of a craggy bluff, but still high 
above the sea, which almost throws its spray over the piazza in front, 
and runs into a quiet cove beside it. 


Sir Joshua Reynolds used to say of Frank Hals, the Dutch portrait- 
painter, that the features of the faces which he painted were so well 
" put together," as the painters say, that the character of individual 
nature was strongly marked, to a degree not found in any other painter, 
and that, had he joined to this most difficult part of the art a patience 
in finishing what he had so correctly planned, he might have claimed 
the place which Vandyke, all things considered, so justly holds as the 
first of portrait-painters. And Hazlitt has observed that, while the 
gross style consists in giving no details, and the finical style in giving 
nothing else. Nature contains both large and small parts, both masses 
and details; and so do the most perfect works of art. The union of 
both kinds of excellence, of strength with delicacy, as far as the limits 
of human capacity and the shortness of human life permit, is that 
which has established the reputation of the most successful architects; 
and this truth is suggested, in some measure at least, by Mr. Goddard's 
house at Providence, Rhode Island, which has acquired a reputation 
much wider than the confines of that city. 

The architects of this building, Messrs. Stone and Carpenter, have Novel ef- 
fects in 
succeeded in producing a number of novel effects, especially in the ivood-zuork. 

interior, and the first of these to be noted in this article is the treat- 
ment of the frame-work of the sliding-doors between the library and 
the dining-room. In any ordinary scheme this treatment would seem 
almost obtrusive on account of the importance given to it by the size 
of the panels, the abundance of the arches, and the elaboration of the 
carvings ; but the ceiling, the book-cases, the single doors, and the 


134 Artistic Houses. 

mantels, have been worked up to it faithfully and harmoniously. The 

difficulty of preventing the facings and the pillars from being too 

assertive is obvious to any one who will observe their values, even in 

iVood-work the illustration. Examine the library, and see how the wood-work 

in the li- 
brary, border of the ceiling supplies a needed strength, and how generously 

the wide shelves of the book-cases are provided with moldings and 
carvings. The hard- wood parquetry is only partly covered with Eastern 
rugs, whose patterns suit the frescoed designs of the center of the ceil- 
ing; and the upholstery of the furniture repeats the tints of the wall- 
spaces and the hangings. Throughout this library the spirit of the 
decoration shows no haste to be something for its own sake, no thirst 
for notoriety, but rather a solid and substantial reticence that comes of 
a recognition of an ulterior aim to make the room fit for its purpose. 
Even the paintings that adorn the walls are witnesses to the same 
pervasive sense. A great artist in furniture, says a contemporaneous 
essayist, might find public appreciation nowadays. He might find some 
pleasure, we think, in the tables and chairs of Mr. Goddard's library; 
and, if any student will recall the antique designs preserved in the 
Museum of South Kensington, and written about in the illustrated 
manuals, the furniture of this room will not appeal to him less sympa- 

This library opens into a delightful dining-room, where the wood- 
work, particularly of the mantel and the sideboard, presents unusual 
Dining- grace of line and delicacy of ornamentation. The architectural features 

room man- 
tel, of the mantel have been very carefully thought out, and will bear a 

studious examination, entering almost into that cultivation of daily life, 
by the presence of objects of beauty, which demands direct criticism 
scarcely more than the blue sky itself. This dining-room, taken as a 
whole, pleases by the charm of its general effect, possessing the fine 
merit of a satisfying ensemble to most persons who look at it without 
captiousness of spirit. It is much to say so; but we venture the asser- 
tion that Mr. Goddard's guests have felt so scores of times. 


The visitor at Dr. Haven's house, corner of Commonwealth Avenue 
and Exeter Street, Boston, enters a hall that leads by one door into the 
doctor's office, and by another into his private reception-room, the two 
apartments adjoining each other. The walls of the office are golden, 
the ceiling is a neutral monochrome, and the furniture chiefly of ma- 
hogany. A well-filled professional library, in French, German, English, 
and other languages, occupies one side of the room ; and the chief 

pictorial attractions are two oil-paintings by Elihu Vedder. Indeed, Oil-paint- 
ings hy 
this artist seems to be a favorite here, for a third most important work Fedder. 

of his hangs in honor on an upper floor. " Vedder 's creations," said 
the present writer on another occasion, " have for the most part a 
moral rather than a merely poetic significance. They hold close rela- 
tions with the human conscience. With so roseate a mythology as 
Diaz expounded they have no affinity whatever; they concern themselves 
with the reign of everlasting law and retributive justice. An accom- 
plished technician Vedder certainly is; but, were he a Meissonier with 
his pencil, he could never content himself with Meissonier 's limited 
literary range. He deals in the highest and most vital moral ideas; he 
is not only a persistent narrator and expounder of literary matter, but 
a persistent narrator and expounder of the most mysterious and tre- 
mendous moral truths. He prefers mystery of thought to mystery of 
handling. ' I can't look at these people talking as mere technique, 
mere rags, mere souls without a history,' he said once, ' I can't do it. 
It is impossible. For instance, the other day I saw a man driving 
sluggishly along the streets, on the way to an armory, a cart, to the 


^3^ Artistic Houses. 

tail of which was attached a field-piece — a twenty-four-pounder. No- 
body stopped to look at it. Good heavens ! it represented all the 
difference between America at peace and Europe in the clutches of the 
Nihilists. I can't help seeing the whole state of society in a thing 
like that.' Need it be added that, with such views, Vedder feels 
keenly the limitations of the painter's art; or that, at times, he is 
Urue worth much more inclined to use a pen than a brush ? Yet the true worth 

of art. ^ 

of a work of art is conditioned by the worth of the man that made 
it; and it would be impossible for a painter, with convictions so serious 
and intense, to lose the manifested power of them when putting pig- 
ments upon canvas." The examples of Vedder in Dr. Haven's collection 
fully illustrate this point. One of them is founded upon that poem of 
Aldrich's : 

" Somewhere in desolate, wind-swept space. 
In Twilight-land, in No-man's-land, 
Two hungry shapes met face to face. 
And bade each other stand. 

" ' And who are you ? ' cried one, agape, 
Shuddering in the gloaming light; 
* I know not,' said the other shape, 
' I only died last night.' " 

And the expression of unutterable bewilderment on his face is such as 
a master alone could have rendered. Another painting, entitled "In 
Memoriam," shows a characteristically sturdy — we might almost say 
brawny — woman standing in a wilderness, beside a fluted column which 
supports a boar's skull, and on which is the inscription — 

" Ceu flos unus superstes 
Inter mortuos jam socios vigens. 
Sic et in corde desolato 
Vivit adhuc nomen illud," 

the local color everywhere sacrificed to tone, and the pictorial effect 
of very much less moment than the grandeur of the literary idea. 


Dr. Haven's House. 137 

The hall of Dr. Haven's house is in light wood, and above the 
fire-opening a finely-carved panel appears. Carved griffins are seen on 
newel-post and mantel-pillar. A notable feature is the facility with Notable 
which the hall, the dining-room, the drawing-room, and the music- 
room can be thrown together, so as to produce the effect of a single 
large apartment. The dining-room is handsomely finished in cherry; 
and the sideboard, with its three arches supported by clustered pillars 
and beautifully carved, is a part of the wall-treatment of an entire side 
of the room. The table and chairs are old, and of carved oak. 

In the drawing-room one meets with a third painting by Vedder, 
a circle of saints in the clouds looking down upon the starlit manger 
in Bethlehem, where Christ was born, the design illustrating the verse, 
" Prophets and priests desired him long," and the clouds being so 
treated that they seem to consist of an innumerable array of angels' 
wings. Another very interesting picture, entitled "Music," is a speci- 
men of collaboration, on the part of Van Balen and Breughel, of the 
seventeenth century. Dr. Haven's house is furnished throughout with 
rare good taste, and possesses artistic attractions of the kind that con- 
noisseurs appreciate. 


While approaching Mr. Joseph H. White's residence, at Brookline, 
Massachusetts, the visitor's attention is concerned, first of all, with the 
spaciousness and elegance of the undulating grounds that lead up to the 
noble terrace on which the house is built ; and, if, after entering the 
building, he takes his position on the piazza at the end of the hall, Prospect 
the view, on a fair day, will prove enchanting. He finds himself about piazza. 
sixty feet above the pleasant highway along which he came. Directly 
in front of him, and across that highway and the long, grassy slopes, is 
a reservoir that looks like a lake. From a thick-set group of oaks and 
chestnuts beyond it rises a church-spire; and among the nearer trees, all 
of which are on the premises, he recognizes some noble pines and elms 
that must have held their stately beauty at least a hundred years. The 
golden dome of the State-House, in Boston, glistens conspicuously at a 
distance of four miles, across an intervening valley with trees and far- 
ofF houses. There is a unique view of this fine panorama from a small 
oval window in the dining-room. 

We step back from the piazza into the hall : its vestibule wainscoted The hall. 
in white-oak, and provided with oaken doors; its dimensions not less 
than forty-five feet in length and twenty-five in breadth. Standing 
with our back against the piazza-door, through which we have just come 
in, we see a wide oaken stairway, of easy ascent, and at its right an 
entrance into the billiard-room. Still nearer, at the right, a double-door, 
with portidres of blue plush, faced with velvet, opens into the dining- 
room. On the left, directly opposite, a similar door leads into the 
library, and a single door into the parlor; while still nearer is a wide 


^4o Artistic Houses. 

fire-place, surmounted by a large oil-painting of "Miranda on the 
Coast," a full-length figure in gray costume. Nearer still, in the left- 
hand corner of the hall, and also in the right-hand corner, is a pair 
of immense porcelain vases, of great beauty. A three-quarter ideal 
figure of a gorgeously-dressed and bespangled Greek girl, by Lecomte, 
has much warm coloring. The walls are wainscoted to a height of five 
feet, and then tinted in Indian-red, which, together with tints of gold, 
brown, and gray, appear again in the panels of the heavily-beamed 

Hall fur- ceiling. Most of the furniture consists of easy-chairs, covered with 
morocco, or with antique tapestries, very soft, by reason of the fineness 
of their textures. There is a large center-table, eight feet long by five 
feet wide, on which, in addition to a variety of choice books, appear 
vases filled with fuchsias, English primroses, and umbrella-ferns; but, 
of all the flowers that bloom within this charming home — and you find 
them at almost every turn — the lily is the favorite. 

We go into the dining-room next. Here a leather-paper of old 
gold covers the spaces above a darkened wainscot of oak, and a ceiling 
of old gold shows a variety of geometrical designs. Very superb is the 

Dining' fifteen-feet-wide mantel, behind an arch whose spandrels are exquisitely 

room man- ^ j. / 

tei carved, and whose surface underneath is of gold, adorned with effects 

of precious stones. Three water-color figure-pieces are by Tissot, and 
two family portraits by Hubert Herkomer. The oaken sideboard, unob- 
trusive yet elaborate, has five arched panels. An immense India rug 
almost covers the hard-wood floor. Embroideries, woven in France, 
after antique designs, adorn some of the chairs, while the rest are up- 
holstered in leather. The four juxtaposed windows on the south side 
are a noteworthy feature of this chamber of festivity, where the large 
sticks of hickory-wood, that lie upon the French andirons of hammered 
iron, are not needed to foster a sense of genial hospitality. 

Oil-paint- Mr. White's fine collection of oil-paintings is found chiefly in the 

library and the drawing-room. He has the distinction of owning, 
perhaps, the noblest landscape ever painted by George Inness — another 
method of saying the noblest landscape ever painted by an American 


Mr. yoseph H. White's House. 141 

artist. It is a view of St. Peter's, with the Vatican and its gardens, 
at sunrise, a rainbow shining beyond the dome. Then he has a figure- 
piece by George Fuller — " Lorette," a Canadian peasant-girl — enveloped Pamtmg 
in those misty and mysterious golden tones which this painter has Fuller. 
taught us both to expect and to respect. To say that these two 
American paintings manfully hold their own beside the examples of 
Merle, Diaz, Tissot, Lambinet, E. Frere, and Robie, is to speak the 
unvarnished truth. 

On leaving this commodious and delightful house, the visitor is 
attracted again by the great width and swing of the grassy slopes and 
cultivated gardens that surround it, and by the magnificence, splendor, 
and variety of the distant views. 


One of the boldest and most striking interior effects in this collec- 
tion is that of Mr. W. S. Hoyt, at Twin Islands, Pelham, New York. 
These islands, it will be remembered, are situated in Long Island Sound, 
a little south of Glen Island near New Rochelle. When one gets 
there on a summer's day the scene is beautiful in the extreme along 
the gently-breaking surf and the shimmering ripples of the Sound, whose 
waters, directly in front of the house, are eighteen feet deep, affording 
fine facilities for the largest-size vessel that is likely to seek moorings 
in the neighborhood. 

Of no special style is the building, save that which describes the 

owner's taste, he having been able to dispense with the services of 

architects, and to build precisely as suited him. The first story is of 

stone, gathered for the most part near by; and the two upper stories 

are shingled. As the visitor enters the hall he finds himself in a place Remark- 
able hall. 
altogether different from what he has seen elsewhere; in fact, we 

believe that the habitable world would be searched in vain to find a 
retreat which bears the faintest resemblance to this. It is L-shaped, 
the longer arm fifty feet in length by fifteen feet in width, and at its 
extreme end appears an Oriental divan, strewed and canopied with stuffs 
of varied soft and bright hues, so arranged as to tempt the most wake- 
ful and the least tired. The low ceiling is heavily beamed with Cali- 
fornia redwood, with which also the wall-spaces are paneled. The 
shorter arm of the L, seen in our illustration, shows the wide mantel 
of red brick, with its opening so deep that comfortable seats for half 
a dozen or more persons are permitted on either side of the fire. The 


144- Artistic Houses. 

andirons were made after Mr. Hoyt's own designs, by the village 
Unique blacksmith; and the back of the fire-place is a sheet of casting, on 

mantel and ^ 

fire-place, which appear two standing figures in relief. Above the narrow mantel- 
shelf of brick is a moose's head, of wondrous proportions and success- 
fully preserved, flanked by relics of Indian equipment for war or chase. 
An old bellows at the left is decorated with Venetian carving. Hal- 
berds of various patterns, a two-handed sword, arquebuses, a man in 
armor in a niche, cross-bows, mail shirts, battle-axes of barbarous 
nations, an old Italian gun-stock, a fifteenth-century spinning-wheel, 
and furniture without upholstery, gathered from many an old palace, 
are noticeable against the wall, on the floor, or about the mantel. So 

Jms and curious, multiform, and interesting a collection of arms and armor is 


rarely seen outside a museum, and these specimens have all of them the 
additional interest of souvenirs of foreign travel on the part of host and 
hostess. The arrangement of the armor and coats-of-mail on the right 
wall is seen in the illustration, and also the pieces of antique tapestry 
which succeed one another till the divan is reached, fifty feet, away, 
where glorious glimpses of the Sound are inexhaustible. The principal 
part of the back of this divan is Chinese embroidery on a white-silk 
ground; two or three pieces of the same stuff", pinned loosely together 
to form the canopy, are caught up in full festoons at a point whence 
a small lamp hangs by a chain of old iron. 

Adjoining this singular and fascinating hall, and on a level a foot 
lower, is the drawing-room, finished in yellow pine; and opposite the 
drawing-room, on the other side of the hall, is the dining-room, with 
a huge mantel of blue enameled brick, and walls paneled to the beamed 
Ceiling of ceiling in California redwood. Quite unique in effect is the sitting- 
room, whose ceiling has been laid with strips of matting in irregular 
panels, and whose wainscoting shows similar treatment. The shop on 
the third floor would delight an amateur carpenter or blacksmith, with 
its forge, bench, and complete sets of tools. 

Mr. Hoyt's house is a self-reliant expression of individual taste, that 
stamps itself indelibly on the memory. 


At No. i8 West Forty-ninth Street stands Mr. Joseph S. Decker's 
finely-decorated house, where some of the best-known artists of this 
country have left the marks of their skill. You enter the main hall 
through a vestibule of oak, in whose massive doors and large transom 
Mr. John Lafarge's stained glass produces — especially at night, when the Stained 

glass in the 

lights are burning behind it — an extremely beautiful and tender play of ^^//. 
highly-vitalized color, the pearly, opalescent, and ruby hues being par- 
ticularly lustrous. Their winning radiance is echoed in some of the 
tints of the screen in front of the staircase. Another screen of oaken 
spindle- work divides the staircase from the middle hall^ and the finish- 
ing of both halls is in oak throughout. 

The first room to the left after entering the house is the parlor, 
which Messrs. Cottier and Company have converted into a place of 
princely but peaceful splendor. Silk damask of an exquisite rose-pink 
covers the walls from frieze to wainscot, and the ceiling is painted in 
bronze, over a modified plaster or " composition " surface, in which the 
deeper traces of the brush-work are abundant. Of similar substance 
and tint is the frieze itself. A costly Renaissance mirror hangs above 
the mantel-piece; and as for the furniture it is costliness itself, espe- 
cially the very striking mahogany cabinet, with its profusion of hand- 
painted panels, and the carved rose-wood sofa, the like whereof in Elaborate- 
decoration, shape, and solidity, one might go many blocks to find, sofa. 
The least careful observer will scarcely fail to notice the artistic success 
of these hand-painted panels, particularly the ones that bear representa- 
tions of female figures, each of which is good enough to be admitted 



Artistic Houses. 

into an annual pictorial exhibition, and important enough to attract 
attention in the midst of much more important surroundings. These 
pieces and their fellows were made in this city by the Messrs. Cottier; 
and there is scarcely another piece of furniture in the room that does 
not stand as an exponent of what is sterling and choice in the joiner's 
art. The hangings of tapestry, and the portieres of appliqu^ work on 
plush, are felicitous in color and fine in workmanship; and the same 
is to be said of all the hangings and portieres throughout the principal 

The visitor passes from this sumptuously-furnished parlor through 

the middle hall, with its spacious fire-place, its delightful Venetian 

"^he din- lanterns of bronze, and its sense of hospitableness, into the dining-room, 


where the wood-work is of mahogany — mahogany in the heavily-beamed 
and paneled ceiling, mahogany in the elaborate wainscot, mahogany in 
the magnificent and lofty mantel. Of mahogany, too, are the chairs, 
covered with stamped and illuminated leather, and the handsome side- 
board and table. Tapestry, in which the dark-blue tints prevail, lines 
the wall-spaces, which are further decorated by a series of bright and 
interesting water-color drawings. This dining-room is a place for a 
man of taste to refresh himself in. 

On ascending to the second story one notices the pictures in black- 
and-white that thickly stud the walls, and, after going through the 
rooms, the ease and comfort of their arrangement, not less than of 
their ensembles. To the host's bedroom are attached two elaborately- 
furnished dressing-rooms, which can be separated by sliding-doors ; the 
bath-room is lined to the ceiling with encaustic tiles, in the interest 
both of health and beauty, and all the appurtenances are of the latest 
and most approved design. 
Library. In front, directly over the parlor, is Mr. Decker's library, the width 

of which has been much increased by an alcove that occupies the space 
devoted in some houses to the hall bedroom. Here the walls and 
ceiling are covered with stamped flock-paper, of varied conventionalism 
of design, and of tints ranging from olive-green through bronze to gold, 


Mr. yoseph S. Decker's House. 1^7 

producing an effect at once subdued and rich, which is repeated by the 
tints and textures of the hangings and portieres, A large bronze chan- 
delier depends over the center-table; and the furniture is chiefly of 
mahogany, upholstered in low tones, in harmony with the prevailing 
environment. Several beautiful etchings, notably a figure-piece by Etchings. 
Tissot, and " The Angelus," after Millet, are among the pictorial treas- 
ures of this artistic and inviting retreat. 


Mr. John Wolfe's handsome house, at No. 8 East Sixty-eighth 
Street, near the Central Park, which its bay-windows overlook, and 
from which the spring breezes blow directly into the front windows, 
has been celebrated for a noble collection of oil-paintings. These, 
however, were recently sold by the owner, in order, it is believed, to 
make room for an even finer array of similar treasures, Mr. Wolfe 
having special facilities therefor, in his knowledge of artists and art- 
dealers at home and abroad. The representative of his house in this 
portfolio is the dining-room, which Mr. D. Lienau, the well-known 'The din- 


architect of New York City, has taken special pains to make beautiful 
and luxurious. The style, as the illustration shows, is the Italian 
Renaissance, though no servility characterizes the artist's adherence to 
it. Rising almost to the full height of the lofty ceiling, the pilasters, 
richly carved at the bases and fluted above them, rest upon the deeply- 
paneled wainscoting. The wall-spaces are occupied by examples of the 
modern French school of landscape and figure painters, not framed and 
hung, as usually is the case, but so let into the surrounding wood-work Paintings 

framed in 

as to make the latter seem built for the purpose, and quite felicitously theu-ood- 


so. Thus, too, with the Greeks and Romans, painting was decorative 
in its functions, going hand in hand with its sister art of architecture, 
and, indeed, existing for its sake. Thus, too, in the middle ages, it 
identified itself with a special structure or a special occasion, not living 
a life of selfishness, but modestly serving as opportunity offered. In 
fact, it may be said to have been a good Christian, doing unto the 
other arts as it would have them do to itj nor did the other arts dis- 


Artistic Houses. 



dain to return the courtesy. It is interesting, also, to note that the 
pictorial art of Japan, so potent in these days, was at first employed 
for the interior decoration of palaces, being considered out of place 
unless — like the terrace in modern landscape-gardening — it was treated 
so as to become a part of the building itself. 

As Mr. Wolfe's beautifully-carved ^tagere is built into the wood- 
work of the wainscoting, and is properly a development of it, so has 
his fine oil-portrait of the German painter Hasenclever been built into 
the upper part of the ita^re. Here one sees him standing life-size, 
and holding high in his uplifted right hand a wine-glass full of the 
ruby fluid he has so often depicted so well, while in front of him, on 
an easel, rests the picture, " The Wine-Tasters," that has made him 
famous in his own land and in ours. The subject has a certain appro- 
priateness to the place, and the congruity is by no means lessened by 
the fact that the portrait is a gift from the author to the host. 

There are other pictures in this handsome dining-room, but we pass 
them to notice the ceiling, which has been laid out in panels or casettes 
of black walnut — the material in which the entire room is finished — 
beautifully carved, and with deep recesses. Neither paint, canvas, nor 
plaster appears anywhere on the surface of this ceiling, the wood having 
an oil-finish. The mantel, a highly decorative and dignified piece of 
work which centers the attractiveness of the room, has a carved shelf 
about six feet long, surmounted by two ornamental columns that work 
in with the design of the ceiling, and resting upon two massive lions, 
carved out of solid walnut. The buffet, also of walnut, and built in 
like the etaghe^ has a heavy slab of marble, and above it a shelf sup- 
ported by carved brackets. The floor is of hard wood, covered by 
Eastern rugs. The furniture is of carved walnut and embossed leather. 
The elegant chandelier was imported by Mr. Wolfe from Paris. 

We may speak also of Mr. Lienau's two handsome ceilings in the 
music-room, between the dining-room and the front parlor, and in the 
front parlor itself Each is a faithful and highly-pleasing example of 
Louis Seize work in papier-mache^ gold, and colors. 



Mr. John Taylor Johnston's white-marble house, No. 8 Fifth 
Avenue, is represented in this collection by his drawing-room, which 
Messrs. Louis C. Tiffany and Company recently decorated. The gen- 
eral tone is salmon, reds, yellows, and browns, and the principal features 
are the transom of the double door and the mantel-piece. 

The mantel-mirror — a French bevel plate — has a frame of opalescent Mantel- 
glass and lead-work, which serve, in turn, as frames for smaller mirrors; 
and the mantel-front divides into panels of East-Indian teak-wood, 
delicately carved, with a facing of Sienna and colored-glass tiles. The 
wall-spaces are painted, and the ceiling is novelly treated, the paint 
being laid on with a palette-knife, to give an effect of low relief 

The stained-glass transom of the double door shows a graceful floral 
design, supported by a strip of open, carved lattice-work, with bits of 
colored glass inserted — an effect similar to that of the Moorish lattices, 
though the insertion of the bits of colored glass is believed to be a 
device entirely new. The portibres are plush. 

Mr. Johnston's house acquired a national celebrity, a few years ago, 
as the abode of his celebrated collection of oil-paintings, which, when 
sold, returned him more than three hundred thousand dollars. It was 
an occasion of congratulation that the picture which obtained the 
highest price was an American work — Mr. Frederick E. Church's 
" Niagara," now in the Corcoran Gallery at Washington, which was 
knocked down at twelve thousand five hundred dollars. It was gener- 
ally understood that Mr. Johnston's generous patronage of the fine arts 
turned out to have been justified on financial considerations. 


We give an illustration of the dining-room of Dr. William T. Thedin- 
Lusk's house, No. 47 East Thirty-fourth Street, which has some inter- 
esting artistic features, characterized by great simplicity. The wood- 
work throughout is of stained pine, and the wainscoting, four feet 
high, shows panels with relief ornamentation. Japanese paper covers the 
walls and ceiling, and the frieze is in painted bronzes. The height of 
the windows has been reduced by large transoms of stained glass, divided 
into squares, of light amber tones. The once upright mirror of the 
mantel has been laid horizontally, and near the tiled fire-front stands 
a wood-box, as ornamental as useful. Opposite is the buffet, which 
balances the mantel, and close by, a small door to the butler's pantry, 
with a transom of opalescent glass, whose circular forms suggest plates 
and other pieces of the dining-table service. On the left of this door 
a small alcove or arch receives the water-pitcher, and has a curtain in 
front and a locker underneath. The panels of the buffet are of wood, 
ornamented with metal. 

Dr. Lusk's parlor, also the work of Messrs. Louis C. Tiffany and 
Company, is mainly a study of delicate and charming tones. The 
artistic feeling of these rooms is intense but unobtrusive. 


The principal feature of Mr. Gilbert R. Payson's mansion, at 
Watertown, Massachusetts, is perhaps the noble and ample effect pro- 
duced by showing only one flight of stairs in the main hall, thus leaving 
the hall open to the roof Even the mantel, on whose face appears Height of 
an electric indicator for the wind, runs up into the second story, and 
there is a gallery entirely across, from mantel on the left to staircase 
on the right. 

All the wood-work is of ash, which the architect has caused to be 
stained slightly, just enough to bring out the beautiful grain. Two 
doors at the left open, the one into the billiard-room, the other into 
the rear hall j two doors in front lead into the dining-room and the 
drawing-room; while at the right, underneath the staircase, we enter 
the library, after passing a noble standing clock at least two hundred 
years old. A brass chandelier, copied from an antique Venetian speci- Fenetian 
men, hangs from the lofty beamed and paneled ceiling. It is lighted ^ 
by electricity, and there are electric knobs in all the rooms. The chief 
furniture is a clothes-chest of carved ash, and a pair of curiously-carved 
oaken chairs, which long ago belonged to a Tory ancestor of the family. 
Very charming is the triple-arch effect of the mantel, with its square 
carved columns. Eastern rugs partly conceal the floor, and the portieres 
are of old red and green, of Morris's designs. The visitor does not 
fail to notice the unique effect of the screen-treatment of the stairway, 
by which the upper flight of stairs is supported and at the same time 

The drawing-room of Mr. Payson's house opens into a wide and 



156 Artistic Houses. 

long piazza, which extends beyond the building and affords views, not 
only of the Waltham hills and the village of Watertown, but also of 
the hills of Milton. No description of this home, indeed, would be 
adequate, that failed to pay particular heed to the variety and practi- 
cal boundlessness of the rolling landscape by which it is surrounded. 

Prospects. In the southwest one sees Watertown and the distant Newtons; in 
the east, the State-House, Cambridge, and Memorial Hall, and even 
Charlestown and Summerville; in the northeast the heights of Medford 
and Arlington; in the west, Waltham and the Waltham hills; in the 
southwest the Milton hills, fifteen miles away. The approach to this 
elevated and commanding site, on which Mr. Payson's house is built, 
has the singular beauty of mile after mile of old stone-wall fences, about 
which the wild ivy has so entwined itself that in some places you see 
only a mound of green. In speaking of a walk between Leamington 

Fences in and Stratford-ou-Avon, Hawthorne said that " the ugliest stone fence, 

England. ... 

such as, in America, would keep itself bare and unsympathizing till the 
end of time, is sure to be covered with the small handiwork of Nature; 
that careful mother lets nothing go naked there, and, if she can not 
provide clothing, gives at least embroidery. No sooner is the fence 
built than she adopts and adorns it as a part of her original plan, 
treating the hard, uncomely construction as if it had all along been a 
favorite idea of her own. A little sprig of ivy may be seen creeping 
up the side of the low wall and clinging fast with its many feet to 
the rough surface; a tuft of grass roots itself between two of the stones, 
where a pinch or two of wayside dust has been moistened into nutritious 
soil for it; a small bunch of fern grows in another crevice; a deep, 
soft, verdant moss spreads itself along the top and over all the available 
inequalities of the fence; and, where nothing else will grow, lichens 
stick tenaciously to the bare stones and variegate the monotonous gray 
with hues of yellow and red." Mr. Hawthorne could never have 
walked the winding road between Belmont and Mr. Payson's house of 
a fine May morning, or he would have had more respect for the vege- 
tative possibilities of a New England stone fence. 


Mr. Gilbert R. Pay son's House. 157 

To return, however, from this digression, we notice in Mr. Payson's 

drawing-room the pleasant effect of the recess, say six feet deep and 

eighteen feet long, partly hid by portikres. The dining-room, finished "^ he din- 
in stained ash, shows on one side a coved frieze that meets the top of 

the handsome sideboard, and on another side the top of the four-arched 

and carved-columned mantel, whose fire-opening is lined with glazed 

tiles of a brownish-yellow hue. The ceiling is heavily beamed in ash, 

while a paper of a dark-green tone, beneath a flowered frieze of gold, 

covers most of the wall-spaces. On each side of the arched niche of 

the sideboard is a cabinet for china, and below, a series of convenient 


The walls of the library are an Indian-red monochrome, and the ^he libra- 
portieres a warmer red. The mantel has a terra-cotta lining for its 

fire-opening, and an oblong, beveled mirror ; and in the center of the 

room stands an octagonal table, laden with costly art-books and the 

current periodicals. All the book-cases are of ash. 


Mr. W. S. Kimball's house, in Rochester, New York, is known to 
the decorators and architects of New York City as one of the finest 
private residences of the interior of the State. Its general style is 
colonial, freely adapted, the first story being of stone, and the second 
of stucco, with strips of wood. The entrance is beneath a porte-cochhe 
of pleasing proportions ; and a feature of the hall is a large Moorish Moorish 
screen which crosses its entire width and shuts oiF the staircase and the 
organ-loft. But most conspicuous is the novel and beautiful effect 
produced by screen, staircase, and organ, when the spectator looks 
through the screen, and then through the balusters of the stairs, and 
next through the openings between the organ-pipes into the darkness 
beyond, receiving an impression of great distance and of mystery. 
Messrs. Louis C. Tiffany and Company, to whom was intrusted the 
decoration of Mr. Kimball's house, have here accomplished an extremely 
interesting result in perspective and in color. The hall seems to have 
become more than twice its actual depth under the skillful treatment 
of those artists; the screen invites speculation as to what is beyond it, 
and the organ is so constructed as not to discontinue surmises. This Grand or- 
organ, which stands on the landing of the first flight of stairs, is large, 
and has an elaborate front of oak; the pipes have a damascene orna- 
mentation, and on either side of the key-board are large mosaic panels 
of glass, partly open, which almost conceal the smaller reeds. Above 
the organ is a screen of open-work and glass, and it is while looking 
through this screen that the spectator obtains the consummation of the 
artistic purpose. The immense mantel of Sienna marble and oak is 


i6o Artistic Houses. 

another important attraction of the hall ; and there are a very high 
wainscoting and an oaken ceiling. 
Fenetian In the library is a remarkable mantel of mahogany, in Venetian 


Style, surmounted by a large carved frame- work, laid out in a pattern 
of squares within a stone arch, and lighted by a stained-glass window 
on each side. All around the fire-place is a solid facing of glass tiles. 
The ceiling, the wainscoting and the book-cases are of mahogany. In 
the dining-room mahogany appears again ; and one notices particularly 
the deep frieze of leather, ornamented with elaborate patterns in nails. 

A characteristic Tiffany-room is the parlor, long and almost a 
double square, with its large and deep bay-window overlooking a con- 
servatory. As the spectator stands in this window and looks into the 
conservatory, his eyes rest upon a distant window which has been 
decorated with small and brilliant jewels, set at intervals in the clear 
glass, and seeming like little flowers that differ from the natural flowers 
around them only in the brightness of their luster. Nobody would 
mistake the artificial flowers for natural flowers, nor, in nine cases out 
of ten, would suppose that the artist had meant to represent flowers at 
all, but was working only for effects of color. 
Glass tUes. At the end of the parlor a large mantel-piece of glass tiles, with 
a window at either side, attracts notice on its own behalf, and also 
because the right-hand window is high and has a seat below it, while 
the left-hand window is low. Both the glass of the windows and of 
the mantel is disposed in a fashion to give great brilliancy and variety 
of effect to that part of the room. Each window has an effect of its 
own, and so has the mantel, with its massive mirror; but the com- 
bined effect is as homogeneous as it is impressive. 

All the wood-work of Mr. Kimball's parlor is of white mahogany. 
The furniture is covered with dark-blue plush, and ornamented with 
copper hinges, disks, and nails. Four chandeliers or lanterns, hanging 
near the four corners of the parlor, are of a dull-green glass, and 
throw the light upward against the ceiling. The floor is very hand- 
some — oak, inlaid with white mahogany. 


A PRIVATE residence in New York that has attracted much attention 
of late is that of Mr. Henry Villard, at Madison Avenue and Fiftieth 
Street. It is the newest of the series of magnificent houses, and has 
acquired celebrity both because of the fame of its owner and its intrinsic 
merit. To artists and connoisseurs Mr. Villard's house presents at least 
two general features of unusual significance. With all its mag-nitude General 

.... . . features. 

and costliness — its size is perhaps unequaled by that of any other similar 
edifice in the city, and its cost is believed to have been in the neigh- 
borhood of three quarters of a million of dollars — it has preserved a 
chaste simplicity, both externally and internally, and a profound loyalty 
to what is delicate and self-repressive. No attempt at ostentation 
appears in any part of the architectural outline or the decorative 
scheme. Not only good taste prevails, but good taste as understood by 
persons of refinement and education and experience. Had the problem 
been to spend three quarters of a million in constructing a private 
house without producing in the spectator a sense of show, the result 
might justly be considered a successful solution. 

Some conception of the extent of Mr. Villard's house may be ^^tentof 

the house. 

obtained by remembering that on the first floor there are three large 
parlors, a large hall, a large music-room, a large breakfast-room, a large 
dining-room, and a variety of pantries and closets; on the second floor, 
three bedrooms, a library, a boudoir, and three bath-rooms ; on the 
third floor, five bedrooms, a boudoir, and four bath-rooms ; on the 
fourth floor, twelve bedrooms and three bath-rooms; on the fifth floor, 
at least another dozen bedrooms and an immense tank-room; and on 


i62 Artistic Houses. 

the basement floor, a kitchen, a laundry, a servants' dining-room, a 
wine-room, a billiard-room, a boiler-room, with three large boilers, one 
of them a high-pressure machine, for use in pumping water into the 
tanks and in running the elevator. It takes a ton of coal a day to 
heat Mr. Villard's house. 
Faulted You enter the long, wide, and many-vaulted hall, whose ceiling 

and floor are of mosaic, in varied patterns, and whose lofty walls are 
exclusively of Mexican marble, inlaid with marble of other hues; whose 
spacious fire-opening contains immense andirons of bronze of compli- 
cated design, and whose mantel-piece shows, in bold relief, a majestic 
woman with two children, entitled " Pax." At the eastern end is the 
music-room, with ceiling, say, thirty feet high; and, at the western 
end, the reception-room, on Madison Avenue, flanked by the north 
drawing-room and the south drawing-room. The paneling of the 
music-room, to the height of about ten feet, is of white-wood, carved 
with conventional designs of delicacy and appropriateness, and painted 
a creamy white. Above the balcony for musicians, at the north end, 
are several groups of nearly life-size figures in plaster, by St. Gaudens ; 
and the intention is to import from Europe a movable painted ceiling, 
which can be lowered or raised to meet the acoustic requirements of a 
musical festivity. 
Carved oak You pass from this room directly south into the dining-room, 
^room.^^^' where the furniture and all the wood-work are of black English oak, 
profusely carved in low-relief Not a space of three square inches of 
paneling or beams has been left untouched by the carver's tool; yet so 
delicately has it worked that no visitor would say, in the slang of the 
studios, that the effect is "stunning." The more you study it, the 
more you find in it; but the general and immediate impression is one 
of extreme simplicity. Dexterously inlaid in the wall-spaces and frieze 
are mottoes in German and Latin, in white mahogany. For instance, 
over the mantel-piece : " Gott sendet beide Mund und Fleisch " (God 
gives both mouth and meat); and over the entrance into the music- 
room: "Alt Freund, alt Wein, alt Geld, fiihren den Preis in aller 


Mr. Henry Villard's House. 163 

Welt" (old friend, old wine, and old gold, fetch their price anywhere). 
The mantel-piece itself is of Numidian marble, with three life-size 
busts, typifying Moderatio, Hospitalitas, Gaudium. The panels of the 
ceiling contain mythological heads, painted by Francis Lathrop. 

The same profuseness and delicacy of carving characterize the 
adjoining breakfast-room, every square inch, almost, showing traces of Breakfast- 
the burin, while the legends inlaid in the black English oak of the 
walls are just as plentiful and appropriate. We reproduce these legends. 
Over the door to the butler's pantry : " Aller Dinge soil mann mild 
seyn, nur der Zeit nicht." Balancing it, at right of mantel : " Thu 
wohl, sieh nicht wem, das ist Gott angenehm." Next, on north frieze: 
" Faulheit ist der Schllissel zur Armuth." Next: "Was Jeder sucht, 
das findet er." Opposite, on the south frieze : " Das Gliick hilft den 
Kiihnen." Next : " Gut Gewissen, ein sanftes Kissen." 

Below the frieze, on a line above the panels, and extending all 

around the room, are the words : " Non est imperandum cito enim 

exhauri. Illos nunquam intermissia fecunditas ita ammorum impetus 

adsiduus labor francit. Dona praesentis cape letus horae, ca linque 

severa. Dande est remissio animis ; meliores acrioresovi reovieti urgent." 

The reception-room and the two drawing-rooms are of red-stained Reception- 
room and 
cherry, with choice designs inlaid in white mahogany, satin-wood, holly, draiiing- 

and pearl, the multitude of which again is most notable. The wall- 
spaces of the drawing-rooms are hung with terra-cotta silk, embroidered 
profusely in orange-yellow, and the furniture is covered with the same 
material, while in the reception-room it is of dark cream, embroidered 
in terra-cotta.^ to correspond with the hangings. The fire-openings are 
lined with Mexican onyx, and the ceiling is of plaster-of-Paris designs 
in low-relief 

The Hbrary, on the second floor, is of stained cherry, abundantly 
carved; and Mr. Villard's bedroom, on the fourth floor (easily reached 
by the elevator), of mahogany. The other bedrooms are of painted 
woods, and decorated with extreme simplicity and beauty. The archi- 
tects of Mr. Villard's house are Messrs. McKim, Mead, and White. 



The library of the Rev. Phillips Brooks, in the rectory of Trinity 
Church, Boston, is notable architecturally on account of its altogether 
unique mantel-piece. In other respects the room is simply a comfort- 
able and cheerful study, surrounded by well-laden book-shelves, and 
provided with easy-chairs, writing-desks, and a multitude of pictures 
and bric-h-brac^ the latter being of choice quality or interesting from 
their associations. But the whole scheme and every detail of the 
mantel-piece are so pleasing that we have photographed it at the ^mue 
expense of its surroundings. To Boston architects this work of art is piece. 
very well known, and among them it is generally agreed that Mr. H. 
H. Richardson, who designed it, did a charming piece of work. The 
foundations are of brick to a height of about two and a half feet, and 
the upper portion is of the same material, while between them are 
massive slabs of Connecticut Valley brown-stone. A deep recess in the ^v 
center contains a marine painting, and some statuettes and other articles 
of vertu^ and on the broad shelf above them are a clock of rare work- 
manship, a pair of candlesticks, and some porcelains. The artist has 
produced his results with plain brick and plain stone ; there is no 
carving at all. The financial outlay is of the most modest description, 
yet the effect causes delight. Simplicity, solidity, magnitude, fitness, 
are the traits most obvious, and these are enhanced by the wide and 
deep recess in which the mantel-piece stands. 




The feature of Mr. Hovey's sitting-room, which we have chosen 
as the representative of his charming country-seat at Gloucester, Mass., 
is the large window at the right of the mantel, overlooking some 
beautiful grounds whose trees work their branches into delicate traceries 
against the panes. It is really three windows, separated by muUions 
only, and particularly from the center one the view seems illimitable 
in our illustration. The reader will perceive that the photographer 
here has accomplished the unusual feat of photographing directly into F^^fof 
the light, instead of insisting upon having the light behind him, or at ph'- 
his side. The sunshine streams in directly from the rear, and into the 
very face of the spectator, yet is there not the slightest trace of 
blurring. The leaves and branches are clear enough to serve as studies 
from Nature. This window, we may explain, was covered with a 
curtain while the picture was being taken, except during the last three 
or four seconds, when the light was allowed to flow in and illumine 
the scene. The room itself was perfectly pictured in the camera before 
the curtain was withdrawn. 

All the wood- work is of quartered oak, thoroughly seasoned. The 
floor is of parquetry, partly covered by a rug. A fine old clock stands 
in one corner, and the center-table shows some admirable carvings, as 
does also the stone-work around the fire-opening. Small mirrors reflect 
the light from the burners of the sconces, and the paneling is relieved 
by flutings and a coved frieze. A very interesting part of the design 
is the long window-seat. 


Mr. Frank Furness, the Philadelphia architect, recently conceived 
the scheme of building with his own hands, and in the simplest fashion 
possible, a smoking-room in the rear of his house. No. 711 Locust 
Street, in that city. He has spent parts of many summers in the 
Rocky Mountains, whence he has returned every autumn with trophies 
to make a Nimrod's mouth water, in the shape of bear-skins, buffalo- Souvenirs 

' ^ ' of the 

skins, deer-skins, wolf-skins, goat-skins, and skins of various smaller chase. 
animals, together with horns, antlers, and heads of many sorts, and his 
idea seems to have been to house these souvenirs of the chase as incon- 
spicuously as possible. Accordingly, he erected a one-story structure of 
cedar slabs, with a sloping roof of the same material, and a dado of 
unbarked cedar saplings. He built a fire-place of gneiss, and a couple 
of tables of thick cedar plank, supported on legs of the most primitive 
description. He covered parts of the walls with steel engravings, intro- 
duced some easy-chairs of unassuming workmanship, and then proceeded 
to disport himself in color-effects by throwing his skins over them, or ^o^or- 
by hanging them on a cross-beam in company with various bright-hued 
stuffs. What Mr. Furness has really achieved, from a chromatic point 
of view, can barely be surmised from our reproduction in black-and- 
white, excellent though it is; but those who have seen the interior of 
his cozy little sanctum will agree that, in felicity of arrangement, both 
of lines and tones, it is artistic to a high degree, while its literary 
interest — if we may so express ourselves — is absolutely unique. 

i-n iiw-i j-L 


Throughout the West, Mr. John G. Chapman's house, in St. Louis, 
is well known, and even at the East the story of its artistic treasures 
is often told. Our readers are introduced in this volume to a view of 
the commodious and excellently-lighted picture-gallery, which abounds 
in beautiful paintings and other works of art. Almost the entire ceiling 
is occupied by the sky-light, from the borders of which it recedes 
downward in diagonal lines. The wainscoting is paneled about five 
feet high, and between it and the frieze the pictures are hung against 
suitably-colored wall-spaces, while from it, at intervals, project hand- 
somely-designed cabinets, containing old porcelains and other choice bits 
of color. Arched entrances appear at either side of the mantel-piece, 

which, architecturally considered, is the most commanding feature of Main feat- 
ure of the 
the gallery, rising to the entire height of the walls, and projecting far gallery. 

over the fire-opening, the scheme being a juxtaposition of small panels, 

some of which contain elaborate carvings after conventional designs. 

The andirons deserve especial mention for their handsome and odd 

patterns. A large and beautiful Eastern rug conceals most of the 



No city approaching New York in size has in its vicinity features 
of natural scenery so picturesque and attractive. Abrupt elevations, 
rounded and broken knolls, and rugged rocks rising on the borders of 
broad areas of water, are among the characteristics of the landscape. To 
provide for the future development of the city, so that these may retain 
their proper place within its limits, obviously demands the exercise of 
intelligent foresight. The most striking features of the surrounding SUesfor 
scenery are to be found within, and immediately beyond, the northwestern ^^^^^ "^^^ 

'' ' ^ New Tork. 

limits of the city. There can not be found elsewhere, in one continuous 
range, so many beautiful country-seats as adorn the first thirty miles of 
the easterly slope that confines the waters of the Hudson and what is 
called the Harlem River. The latter is, strictly speaking, not a river, 
but an estuary connecting the Hudson with the Sound. It has the 
peculiarity of two tides, one of which arrives by the North River an 
hour earlier than that by the way of the East River. The long line of 
stately residences, which begins a little below where the tides meet, 
illustrates social phenomena which are as characteristic as the natural 
peculiarities that exist around them. These retreats are the products 
of vast outlay, whose ebb and flow fairly represent the mutations in the 
business affairs of the great commercial center of the continent. 

The frequent changes in their ownership interfere with their devel- 
opment on any previously-devised plan, if one ever existed, yet there may 
now and then be found an example where a plan has been adhered to 


174- Artistic Houses. 

in the planting; and, as is the case with the few places that have 
remained in one family for a long succession of years, they have taken 
on an appearance of mature growth in the plantations that is not often 
found except in older countries, under the steadying influence of more 
settled proprietorships, where the architectural results of wealth have 
been concentrated through a series of generations. 

This maturity of arborescent growth lends an additional attractiveness 
to the borders of the highways along the river, the coarse administration 
. of which, by the public authorities, is not infrequently rendered conspic- 
uous by the contrasts afforded in the more tasteful outlays of an occa- 
sional private owner. 

There is an elevated range of land that, taking its rise at the Harlem 
River near the central bridge and skirting along its waters, forms the 
east slope of the water-shed of Tibbets Brook and, farther on, of the 
Site of the Neperhan River. On the combe of this ridge, just about a mile from its 
Boscobei:' rise, and a short distance from the river, stands a mansion, the first of 
any especial distinction, known as the " Villa Boscobei," a name signify- 
ing "beautiful wood," thus designated from its Salopian prototype in 
England, where, in an oak-tree, Charles, pursued by Cromwell's troopers, 
was concealed after the sanguinary battle of Worcester, and also, perhaps, 
from some fancied association with the name of its owner. 

Occupied with the administration of his affairs, which had now be- 
come very various and of great extent, Mr. William B. Ogden found it a 
constantly increasing necessity to pass less of his time in the Western 
city, with the growth of which he was so nearly associated, and more 
at the East, where capital and commerce were rapidly centering. Casting 
about for a fitting residence, he, more than twenty years since, in the 
later years of his active life, selected these premises, then near the city, 
for his future home. They were by no means as accessible as they 
have since been rendered by improvements which he was largely instru- 
Extentof mental in bringing about. The purchase was immediately supplemented 
groun s. ^^ ^^^ acquisition of several tracts of adjacent lands, until, taken togeth- 
er, his ownership comprised an extent of water-frontage of nearly half 



Villa Boscobeh the Home of Mrs. William B. Ogden. i75 

a mile on the Harlem River, and included the easternmost terminus of 
that massive structure which carries the city's water-supply from the 
mainland to the bold blufFs of Manhattan Island. To the development 
of these grounds, their planting and arrangement, Mr. Ogden devoted 
such intervals as the care of his affairs would permit. As the area 
within which they are situated was then under the authority of two 
town governments. West Farms and Morrisania, neither much distin- 
guished for efficiency, Mr. Ogden, with characteristic liberality, made 
from his own resources considerable expenditures for the improvement of 
the public highways of the vicinity. 

The principal house was the scene, as well of the generous enter- 
tainment of a wide circle of friends, as of many negotiations involving 
enterprises destined to leave deep foot-prints in the progress of the 
settlement of the western portion of the continent. In occupations such 
as these its late proprietor passed the closing years of a long and pros- 
pered career. The house and a large surrounding acreage are now the 
property and residence of Mrs. Ogden. 

Every architectural structure of any note has its own peculiar char- Anhitectu- 

^ . ^ , . ral effects. 

acter and power, resembling the expression of a countenance or the air 
of a figure, and that of " Boscobel" is not lacking in this quality — 
presenting the appearance of the quiet, spacious residence of a family 
of substantiality and consideration. The dwelling, based upon the 
pervading ledge of rock that at this point lies near the surface, was 
constructed from the designs of Mr. Calvert Vaux, architect, of striated 
gneiss, of a cool gray color, quarried at or near its site. The quoins 
and other dressings are executed of olive-stone brought from the prov- 
inces. The exterior wood-work corresponds with the tint of the olive- 
stone, and, as the roof is covered with slate of deep blue, the whole 
structure has an effect subdued and yet pleasantly varied. The chief Chief en- 
entrance-front, remarkably attractive as an architectural elevation, of ovi^ front. 
hundred and sixty feet in length, covered with the bright leafage of ever- 
living ivy, and fittingly broken with porches, bays, and verandas, looks 
toward the north upon a lesser lawn, which is embraced within the 


176 Artistic Houses. 

circuit of the main carriage-approach, and bordered by a belt, composed 
chiefly of various evergreens of mature growth, by which the stables 
and offices, as well as the premises of the adjoining owner, are effect- 
ually excluded. 
View from The Southerly front overlooks an even-surfaced lawn, of park-like 

the souther- 
ly front, dimensions, threaded by walks of finely-broken trap of a deep blue, 

flanked on all sides and completely embayed by indigenous trees and 
flowering shrubbery, and diversified by borders to which Flora has made 
her choicest contributions. From the terrace, and through the arches of 
the verandas — festooned with the purple-flowered wisteria, scarlet bigno- 
nia, clematis, and variegated woodbine — and also from the upper rooms, 
are seen, toward the west, the Harlem River, with its long line of 
steep, verdurous banks, the favorite resort of the boating fraternity, 
with all sorts of small craft shooting over its surface like water-skates; 
the High Bridge, with its fifteen lofty arches of ponderous masonry, 
affording between its protecting parapets a paved walk of more than a 
quarter of a mile, the object of unending interest to myriads of visitors ; 
and, on the precipitous cliffs across the river, the majestic water-tower, 
rising sheer from the river's surface four hundred and five feet to the 
top of the spire, higher by one hundred and twenty-seven feet than the 
towers of the Brooklyn Bridge, and by one hundred and eight feet than 
the steeple of Trinity Church. The more remote horizon-line is broken 
by the outline of the clock-tower and the peaks and gables of the 
Juvenile Asylum, as they lie against the western sky, and by the resi- 
dences of Washington Heights, the most elevated portion of Manhattan 
Island, seen here and there amid masses of foliage. 
Eastern Toward the east is the lower terrace, bordered on the farther side 

by old oaks and chestnuts, upon which stands the extensive line of 
nearly six hundred feet of the well-furnished conservatories and green- 
houses pertaining to the Villa. From the lookout on the roof may be 
seen the waters of the Sound and the intermediate landscape. From 
the south one catches the sound of many-tongued chimes, as they ring 
out their music from the domes and spires of the great city. 



Villa Boscobel, the Home of Mrs. JVilliam B. Ogden. 177 

The extent and attractiveness of the original plantations have been 
much enhanced by liberal replenishment, and by the continuous, intelli- 
gent care which has been bestowed upon them within the past few 
years by their present proprietor, who has brought to her aid that rare 
taste and good judgment which are the outgrowth of natural endow- 
ments combined with a treasury of the memories of observations of 
much travel. 

Among the deciduous trees here soon discovered by the practiced Character 

o J ^ . of trees ana 

eye, enhancing the beauty of the lawn by their variety in color, size, Mi^s^- 
and form of foliage, are the European linden, sweeping the turf with 
its wide ambitus of dark, heavy-foliaged branches ; the weeping-ash ; the 
purple beech ; the kolreutcria ; the Camperdown elm ; the Pawlownia 
imperialism with its fragrant blue flowers, native of Japan, but named 
to honor a Russian princess; the catalpa, with the fine pale-green of 
its large leaves, and its beautifully-tinted blossoms, to which healing 
powers are attributed, one variety of which is here unique; the Judas, 
with its ante-leafing flowers of purplish hue, used in the gastronomic, 
as is its bark in the dyer's art; the fan-leaved ginko; the Japan oaks 
and maples; the weeping-elm, queen of American trees; the English 
oak; the Rowan, with its scarlet berries — 
" Of sovereign use 

'Gainst all enchantments, mildew, blast, or damp, 

Or ghastly furies' apparition " — 
transplanted from the ^' land of brown heath and shaggy wood," the 
home of the Arnots, Mrs. Ogden's paternal ancestry, which, while it 
is the land of the benignant St. Andrew, yet the emblematic thistle, 
rampant like its rugged strand, bristles perpetual defiance — ^^ Nemo me 
impune laces sit'' 

Of the growth of evergreens are the Norway spruce; Austrian, 
Weymouth, and Cembra pines; the silvery-needled Nordmaniana; the 
yew; the cypress; the sentinel-like juniper; the low-matted squamata; 
the peerless hemlock; and others in great variety, single, or in vigorous 
and varied groups. 


'7^ ' Artistic Houses. 

On a knoll that rises from the lawn toward the west is a circular 
summer-house, completely embowered by fragrant honeysuckle. Massed 
on its slope, toward the east, down till it is lost in the level of the 
greensward, backed with the dark leafage of cedars, junipers, yews, 
and pines, is a broad plantation of J^hododendron Catawbiense^ of bright, 
glossy foliage, and varied, maculated blossoms, brilliant in the season of 
flowers, the most elegant and showy shrubs that grace the lawn. Con- 
spicuous among the varieties are the Amarantinora^ Album elegans^ 
Biandianum^ and Everesiianum^ which, with the whole group, show 
remarkably vigorous growth, left as they are unprotected through the 
winter. Mingled with these rose-trees are azalias and andromedas in 
great variety; among the azalias are the Cruenta^ Princeps^ Aurelia^ and 
Gloria Mundi^ and also the Kalmia latifolia^ neat and pretty in its 
cup-like clustered bloom, but poisonous to the grazing herds. 

The main house, in its interior, presents attractions quite in keeping 

with those of its exterior surroundings, and gives ample evidence of 

cultured and disciplined taste. On entering, one passes a stone porch 

Entrance into the vcstibulc, decorated in Pompeiian colors, thence into the main 

and main 

hall hall, with its elaborate parquetry flooring, covered with Oriental rugs, 

and embellished with statuary. Here is also a remarkable example of 
an old Dutch clock, which by its various dials marks the transit of 
the hours, days, months, and years, as well as the procession of various 
phenomena of the heavens and the earth. 

The principal floor is divided into four large, well-proportioned 
rooms en suite^ all opening from the spacious entrance-hall, and looking 

Dining- outward upon liberal verandas and terraces. The large dining-room is 
finished in carved walnut. The chairs are of walnut, ebony, and em- 
bossed leather; of the same woods is the furniture, including a buffet 
whose ample shelves display rare examples of pottery. This room com- 
mands, toward the south, the principal lawn, and connects on the east, 
by wide, engraved-glass doors, with a conservatory or plant-cabinet, the 
frequent tasteful arrangement of the supply of which offers alike to 
guest and host, in opulence of leaf and bloom, and in softening effects 



Villa Bos cob el, the Home of Mrs. William B. Ogden. 179 

of the gossamer fringes of the most delicate ferns, all the charms of an 
ever-varying picture, before which the critic is compelled to be mute. 
A gardener's entrance to the conservatory is arranged from the exterior, 
and the butler's pantry communicates immediately with the kitchen and 
offices, which occupy the easternmost part of the house. On the north 
side of the hall are the billiard-room, office, and lavatory. 

The library is well supplied with the works of standard authors in "^he libra- 


the finest editions. It is elaborately frescoed and furnished, and finished 
in ebony and oak; is well lighted from the north and by a spacious 
bay-window on the west, and is connected with the capacious drawing- 
room by broad sliding-doors. From the latter room one enters, at the 
side of a sculptured marble mantel, a smaller parlor, hung with silk-stuff 
curtains and portikres^ and having its nice little corner open fire-place. 
Both rooms connect with the principal hall, and are wainscoted and 
finished in satin and rose-wood. 

The drawing-room has also a spacious bay on the west, and opens '^^^ draw- 
upon the terrace and veranda on the south. Its hangings are of superb 

lace, and other rich textiles of delicate hue. A crystal-glass chandelier, 

which flashes into light at the electric touch, with the wall-brackets, also 

of prismatic glass, gives to the whole apartment the air of spacious elegance. 

It is liberally furnished with the richest materials of silk and and satin, 

illustrated with bronzes, mosaics, marbles, and paintings — among which 

are chef-d'ceuvres of Schreyer, Meyer von Bremen, De Haas, Ziermann, 

Bela, and other masters. 

The large and numerous apartments of the upper stories comprehend, 
in their arrangement and furnishing, the suggestions of an elegant and 
refined taste, enhanced by the requirements of comfort and convenience. 
Among them should be mentioned a capacious theatre, with its scenery, 
stage, foot-lights, and essential paraphernalia. 

But, on another stage, there is a drama afoot, in which the individual 
actor plays but a minor part. The restless multitude are the players, and 
the procession of actual life forms the ever-shifting scenery; the hopes, 
the wishes, the plans, of the individual are overlaid and unremembered. 


'^o Artistic Houses. 

The indications of the march hitherward of the great city are 
unmistakable. Already the din and turmoil of its activities are the 
distinctly audible echoes of its approaching footsteps. It works its out- 
ward way in every direction toward the distant hills hooded with groves. 
Approach- The compass and the chain, emblems and heralds of a systematized 

ing changes. 

and intelligent material progress, are busy fixing the plan that is soon 
to absorb and obliterate every green thing in the vicinage. Rural lawns, 
the familiar drives, the rustic pathways, the road-side inns, the cottager's 
home, and even the little rivulets that have always babbled along their 
pebbled beds, are threatened by an insatiable progress. 

The lines of future streets and avenues, soon to be thronged by a 
busied population, are already traced over the surface of the premises. 
Fortunately, that portion essential to the integrity of the Villa is so 
arranged as to render it improbable that the improvements, upon which 
its present proprietor has expended so much of thought, and time, and 
taste, will soon be disturbed. The estate, of which it formed a con- 
spicuous part, is already within the limits of New York, and its 
fortunes are now fairly linked with those of that great city. 


One of the best-known houses in Connecticut is Mr. Knight D. 
Cheney's, in South Manchester, near Hartford, and our illustration 
shows the drawing-room, with a glimpse of the hall. The size alone 
is striking ; few private houses in this country have apartments of so ^ princely 


princely proportions; but the treatment of the walls and ceiling of this 
magnificent room is more striking still. The light enters from a large 
bay-window at the right, and falls over the luxurious carpet and table- 
covers upon the high-paneled wainscoting at the extreme left. This 
wainscoting disappears in book-shelves on one side of the room, and is 
partly hidden by a writing-desk on another side. The wall-spaces above 
it are covered with leather of a low, rich tone; the coved frieze is 
frescoed; and the ceiling is laid out in a series of panels, which are 
painted for the most part with foliage designs. 

Nothing could be better in keeping with the general spirit of the 
decoration than the mantel-piece, at the left of the principal entrance. Notable 

its fire-opening plainly framed in with marble, and its upper part con- piece. 

sisting of two shelves, surmounted by paneled mirrors of plate-glass, 

which, even in the picture, reflect the designs of the ceiling so as to 

give to the room an almost unlimited depth. The beautiful soft fabrics 

of the hangings and the furniture-coverings were selected with exquisite 

taste, and the interior, from first to last, including the minutest detail, 

is as much a nocturne, or symphony in color, as any painting Whistler 

ever painted. 


One of the most notable houses in Western New York is that of 
Mr. SwiTS CoNDfi, of Syracuse, of which an illustration is given here- 
with. The hall and vestibule are finished in St. Domingo mahogany, 
with wainscoting, doors, staircase, and chimney-piece, richly carved. 
Fire-place, chandelier, and metal-work, are of antique brass; side-walls 
of decorated flock, with Pompeian-red background and relief in bronze; 
furniture-coverings, of Spanish leather. The ceiling and stair soflits are 
a combination of mahogany and flock, made specially for the place by 
Edouard Leissner, of New York, and entering into the general harmony 
of the colors. On the stair-landing, back of the chimney-piece, is a 

novel arrangement of mirrors, which has the effect of reflecting the Novel ar- 
upper hall, and making it appear as an addition to the main hall ; so of mirrors. 

perfect is the deception that no one unacquainted with the scheme 

would suppose that the result is only a reflection, unless by the use of 

other senses than that of sight. The chimney-piece, which is of 

mahogany and antique brass, has carvings representing Night and 

Morning; and a clock in the center, which furnishes chimes and tunes 

at quarter, half, and full hours. At its apex is a large bat, carved as 

if clinging to the top ; and on the chimney is the legend, " Well 

befall hearth and hall." At the right hangs an old portrait, done in 

1662, of Louis de Bourbon, Prince of Cond^, called Conde the Great, 

from whom Mr. Swits Cond6 has the honor of claiming descent. At 

the left of the hall is the library, also wood-work of mahogany, 

including the ceiling, with side-walls of a deep, rich bronze plush. 

The furniture-covering and curtains are of bronze and Indian-red 

velours ; 

184- Artistic Houses. 

velours ; the portieres^ of mahogany colors in plush and gold trim- 
mings; and the alcove, with red-brick fire-place, is partly shut off by 
a screen of mahogany and stained glass. 
'^he break' The breakfast-room is a perfect gem, and somewhat novel, as it is 

fast-room. ^ ^ r & ' J 

entirely of light-golden woods, making a delicate contrast of color, and 
was designed specially for daylight effects. The different woods used 
are white and curly maple, with now and then a panel of yellow pine. 
The side-walls and ceiling are delicately paneled, molded, and carved, 
representing fish, fruit, and game; and the furniture and chimney-piece 
are of the same woods. The furniture-coverings and curtains are of 
crushed strawberry-colored plush, and the portieres of sage-green plush, 
in light tones, and ornamented in fine scroll-work. The large windows 
admit a flood of light through stained glass of delicate tints. 

The house is beautifully situated, on a corner opposite a large park, 
and contains fifty rooms, and an addition, with an entrance from the 
dining-room, of conservatories, covering an area at least one hundred 
by seventy feet, all constructed in a most artistic manner, from plans 
by Mr. O. S. Teale, of No. 247 Broadway, the architect of the house. 
Navel One room is specially admired, namely, the wine-cellar, a spacious 

cellar, apartment, with proper arrangements for equable temperature. The 

design is that of a cave of rocks, with bold, jagged projections, all 

arranged so as to provide pockets, shelves, and grottoes, to receive the 

thousands of bottles, and so natural that it might be considered as the 

secret hiding-place for the treasures of a pirate crew, with colored 

lights here and there, whose glistening reflection upon the rocks, and 

the blue and red and green caps of the bottles, produce an effect 

weird in the extreme. The idea is original, beautiful, and appropriate. 

The side-walls and ceilings of the whole interior of the house are 

decorated, even to those of the smallest closets, and the third floor has 

as fine work as the first. Mr. Conde's mansion does credit to the 

architecture of the new era. 


One of the most pleasing designs in this tenth section is that of 
Mr. John L. Gardner's (Jr.) house, by Mr. John Sturgis, the Boston 
architect, and in every respect characteristic of his work. We have 
reproduced the hall, and our readers will agree that its determining 
characteristics are, at least, of a kind quite apart from those of most 
of the halls in this volume. Mr. Sturgis neither slavishly repeats 
himself nor sacrifices color to line. In this particular design his care "The hall. 
has been much more for line than for color, and before the painter's 
brush had made a single stroke the substantial beauty of the scheme 
was secure. Entered by a series of steps at the left, under a balcony 
filled with exotic plants that thrive in the abundant sunshine, the hall 
is practically but a spacious landing-place for a noble flight of stairs, 
so easy of ascent that a modern elevator would seem a supererogatory 
convenience. The mantel-piece, with its columns, its niches, its bas- 
relief ornamentations, and its inlaid canvas, is an architectural study 
of importance, which would engage the attention of the professional 
student. The walls are paneled in wood to the ceiling, which is left 
entirely devoid of ornamentation. This hall is, in all respects, a strik- 
ing and admirable performance. 


The library of Mr. Franklin H. Tinker, at Short Hills, New 
Jersey, as shown in the accompanying illustration, has recently been 
enlarged and redecorated by Messrs. Lamb and Rich, the architects. 
All the wood-work, including the furniture, is in mahogany. Heavily- 
curtained windows admit a tempered light, in which the bronzed Lin- 
crusta gleams dully, and gives to the whole interior an air of dusky 
elegance. The chief feature of the room is the beamed and vaulted Chief feat- 

J J • . ... 1 • 1 1 1 ure of the 

addition, termmatmg in an octagon lined with low cases, over which library. 
are three stained-glass windows, representing respectively Art, Science, 
and History. The tiled and recessed mantel and fire-place, extending 
nearly across the opposite end of the room, are also strikingly effective. 
Apart from its architectural merit, this room is noteworthy for the 
unusual interest of its literary contents. The books, which are well 
selected throughout, embrace a rare collection of autographic copies, Avtograph- 
the assembling of which is the owner's hobby. The works of Victor VolT^ "^ 
Hugo, Lord Tennyson, Ruskin, Bancroft, Whittier, Holmes, Aldrich, 
Agnes Strickland, and scores of others, are enriched by letters from the 
authors, or are presentation copies. A charming and costly collection 
of signed and proof engravings and etchings forms a fitting complement 
to these bibliographic treasures. 


Hunter's Island, Westchester County, New York, is the home of 
Mr. C. Oliver Iselin. The surroundings are rural in the extreme, and 
very picturesque. The house is situated near the center of the island, 
overlooking the broad, sail-flecked expanse of Long Island Sound, and 
approached by long, winding, leafy avenues. It is represented in this 
portfolio by the hall, the special feature of which, architecturally speak- '^^^ ^''^^^• 
ing, is the wide and graceful arch that frames the staircase. The design 
of the staircase is singularly novel and effective. You ascend easily from 
the broad hall by six steps to the first landing; thence by as many 
more at the right to the second landing; and thence to the second 
floor. The walls are intricately paneled to the ceiling, from which 
hangs a beautiful lantern. On the balustrade above the first landing is 
a fine specimen of a peacock, the tints of whose plumage strike a high 
note in the midst of the surrounding soberness. 


The country-seat of Mr. H. M. Flagler, at Mamaroneck, is one 
of the principal suburban features of New York City. Both externally 
and internally it appeals to the most cultivated tastes; and the bound- 
less hospitality which it dispenses has become a maxim among Mr. 
Flagler's friends. The view given herewith is characteristic of the 
interior, and its principal points are of a kind to delight an architect. 
Among these is the charming balcony effect of the first landing of the Balcony 
noble stairway, with its elaborately-carved coat-of-arms. The newel- 
posts and balustrades are handsomely carved, and the floor is of para- 
quetry, in choice designs. There is not a detail of this magnificent 
hall that does not bear its own evidence of fitness, and its own 
assurance of artistic feeling on the part of both architect and decorator. 


The two principal attractions of Mr. Henry Belden's house, in 
Fifth Avenue, fronting Central Park, are the library, on the second 
floor, and the dining-room, on the first floor. The library contains, in 
addition to many works of pictorial art, a large collection of books, in 
cherry cases, that line the walls to a height of about five feet. Near 
it is Mr. Belden's office, approached through a small anteroom or hall. 
The dining-room is finished in oak, with a mantel-piece of colored ^^^^''^' 
marble. Two immense Chinese porcelain vases stand on either side of 
the fire-opening, above which the design shows niches for other porce- 
lains and for bronzes; but the shelf is not littered with ornaments. 
This negative feature is in harmony with the general aspect of the 
surroundings. There is, perhaps, not a beautiful dining-room in the 
city whose plan of decoration is at once so simple, without baldness, 
and so solid. The most striking effect in Mr. Belden's dining-room is 
the immense screen of spindle and perforated work. All the furniture 
is of oak, as are the conspicuous beams of the ceiling. There is con- 
siderable carving of a refined order both on the furniture and the 


Hall, sitting-room, and reception-room combined — yet in the scheme 
of the edijSce only a hall — are seen in the illustration that represents 
Mr. J. W. Wadsworth's house. The decorator and the architect here 
are one, and their plan required for its fulfillment scarcely any material 
but wood. This method of treatment, costly, of course, produces an Method of 

' ^^ ' ^ treatment. 

indescribable effect of honest solidity, or solid honesty, and gives to the 
visitor at the outset a comfortable and satisfying impression. While the 
staircase is the principal motifs its design has been worked out with a 
view to making it a component part of the decoration, and accordingly 
we have that rare product, a hall that is not obstructed by its provision 
for enabling a person to reach the second story. Most halls would be 
more desirable without their staircases; in this hall the staircase, so far 
from being in the way, or from inartistically breaking the leading lines, 
is part and parcel of the place itself. Mostly relegated to one end of 
the apartment, and shut off by a screen of much architectural suggest- 
iveness and beauty, it does not block up even that end itself, its 
proportions being slight, and its starting-point entirely hidden. Then, 
too, on the first landing we have a charming balcony-effect, surmounted ^^f^^ony- 
by an oval window of exquisitely-colored glass, which detains the guest 
who is ascending, as if it would rest him with the contemplation of 
its glowing but subdued lusters. There is a striking piece of glass- 
work, also, in the transom of the principal entrance. Some of the 
easiest chairs ever sat upon are to be found in this hall ; and the low, 
wide lounge, near the principal door, is a cordial invitation to tired 


Mr. William F. Havemeyer's house, at Orange, New Jersey, has 
recently been reconstructed internally, by Messrs. Roux and Company, 
of New York, and the effect is altop;ether changed. The drawinp;-room "^^^ ^^^^ 

*-^ ° ing-room. 

is in chestnut and mahogany, with ornamentations of perforated brass, 
and stained-glass windows. Japanese paper, with armorial designs on 
a background of faded red, covers the walls, and the ceiling is a series 
of fret-work panels. The mantel has a novel arrangement of shelving 
(as the illustration shows), and a plastic ornamentation representing the 
rising sun. The wainscoting is four feet six inches high. 

The smoking-room has been finished in mahogany, and is an 
extremely comfortable apartment. There are many shelves for bric-a- 
brac^ with drapery underneath. The chimney-piece is of brick, the 
wall-spaces are covered with leather-paper, and the chairs, table, and 
cabinet, are in Chippendale style. A pretty effect is produced by the 
spindle- work in the transoms of the doors. The floors throughout the 
house are of hard wood. 

The Japanese room, or Mr. Havemeyer's "den," has one conspicuous 
feature in its arched rattan ceiling;. The walls are decorated in solid Arched 

° rattan 

relief, and hung with Turkish gauze curtains. All the wood-work is ceiling. 
of enameled pine. The two arched panels formed by the lines of the 
ceiling are painted in bronzes, in Japanese style. 

Mr. Havemeyer's house affords an interesting example of the results 
of an artistic interior renovation. The color-effects are very delicate 
and pleasing. 















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_^:oi-^rj?.::r^ /Mr<;-S HALL {First Vfr^v). 





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MR. HENRY VILLARD'S HALL [looking West). 








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